The Work: New Campaigns - UK

ONE TO LOOK OUT FOR - I Can't Believe It's Not Butter - Rock cakes Project: Rock cakes, blind taste test Client: Noam Butchalter, senior brand manager, I Can't Believe It's Not Butter Brief: Reclaim best buttery taste for I Can't Believe It's Not Butter Creative agency: Mother Writer: Mother Art director: Mother Planner: Mother Media agency: MindShare Media planner: Mike Mulholland Production company: Kleinman Productions Director: Daniel Kleinman Editor: Steve Gandolfi, Cut & Run Post-production: Framestore CFC Audio post-production: Factory Exposure: National TV


A pair of Ozzy Osbournes are the stars of a new campaign for I Can't Believe It's Not Butter, as the brand's Unilever parent aims to increase the spread's market share.

The ex-Black Sabbath frontman and the TV impressionist John Culshawe pair up - the former playing himself, the latter in his Ozzy persona. In two spots, created by Mother and directed by Daniel Kleinman, both stagger around a kitchen preparing food.

In "rock cakes", the singer and his uncannily accurate TV lookalike attempt to follow a cake recipe - using the spread instead of butter. But they are distraught when they discover they're making fairy cakes. "Blind taste test" sees the pair taking the traditional taste challenge, mistakenly spreading a scouring pad instead of a crumpet with I Can't Believe It's Not Butter.

A 2005 Mintel report on the yellow fats market in the UK put the brand's market share at a static 8 per cent.

PEPSI - PEPSI MAX CINO Project: Pepsi Max Cino Client: Caroline Diamond, marketing director, Pepsi UK Brief: Launch Pepsi Max Cino Creative agency: Abbott Mead Vickers BBDO Writer: Mark Tweddell Art director: Tony Hardcastle Planner: Andrew Phillips Media agency: MindShare Media planner: Alastair Millen Production company: Academy Director: Si & Ad Editor: Suzy Davis, Final Cut Post-production: The Mill Audio post-production: Wave Exposure: National TV


Pepsi is backing the launch of its new coffee-flavoured variant, Pepsi Max Cino, with a £1.5 million ad campaign through Abbott Mead Vickers BBDO.

The film, shot in 40- and 20-second versions, features a cool young man who lives in a vivid, magical world in which unusual things, such as coffee-flavoured Pepsi, are the norm. He sleeps in a tent in his living room, his fish live in his TV and he wears a suit, goggles and no shoes. The ad ends with him hop-scotching out of his house and jumping on to the Pepsi Max Cappuccino float that happens to be passing by.

Coca-Cola is running trials of its own coffee-flavoured variant, Cola Blak, in France.

118 118 - THE 118 118 TEAM Project: The 118 118 team Client: Alex Lewis, marketing director, The Number 118 118 Brief: Show that, whatever you need, getting it sorted right now is as easy as dialling 118 118 Creative agency: WCRS Writer: David Cornmell Art director: Jane Briers Planner: Cameron Saunders Media agencies: Naked/OMD Media planner: Sally Weavers Production company: Partizan Director: Jim Hosking Editor: Adam Spivey, Speade Post-production: The Mill Audio post-production: 750mph Exposure: National TV


The 118 118 twins will be back on TV screens from this week with a new £2.5 million campaign for the directory enquiry service.

The work, by WCRS, brings the former mustachioed joggers into the 80s in the style of the A Team soldiers of fortune. The 40-second TV spot features the twins bursting out of the iconic A Team van. They're shown rushing headlong through a forest and through walls until they make it to a garage where they manufacture a 118 118 motorbike and sidecar out of nothing. They then continue their mission to assist a couple who need help finding a pizza restaurant.

The ad begins with a version of the introductory voiceover to the A Team series. "If you've got a problem, if you need it sorting out right now, maybe you can call the 118 118 team," it suggests.

The Number 118 118 has a 40 per cent share of the directory enquiries market.

WILLIAM HILL CASINO - MARVEL HEROES Project: Marvel Heroes Client: Dan Taylor, e-commerce director, William Hill Brief: Launch the new Marvel Heroes games in the William Hill Casino Creative agency: Prego Writer: Jared Read Art director: Mikey Barley Planner: Dave Green Production company: Expose Director: Phil Tune Post-production: VTR North Exposure: DM to existing William Hill Casino customers and to people who fit the profile of those with a potential to play the games, online


To promote the launch of the new Marvel Heroes slot games on the William Hill Casino website, the Leeds agency Prego has developed a direct marketing and online campaign.

The mailing comprises a leaflet in the style of a Marvel comic with colourful images of its famous characters, such as the Incredible Hulk and Daredevil.

Boxes of text explain what's on offer, including five nine-line slot machines and bejewelled-themed ten-line slot machines. The pack also includes a CD, which allows recipients to register on the site, and new players are offered a £50 bonus plus a £25 monthly loyalty bonus.

The viral e-mail features a man who turns into the Incredible Hulk.

WOMEN'S AID - WOMEN'S AID Project: Women's Aid Client: Ellie Smithson, fundraising officer, Women's Aid Brief: Promote the existence of Women's Aid and raise awareness of the extent and impact of domestic violence Creative agency: Grey London Writer: Geoff Smith Art director: Simon Butler Planner: Emma Batho Photographer: David Gill Post-production: The Art Company Exposure: National press, outdoor


Women's Aid, the national domestic violence charity, is launching an awareness campaign to highlight the fact that more than 500,000 women will spend Valentine's Day in fear of a violent partner.

The print executions, which broke on 14 February, feature traditional romantic images but with a violent twist designed to shock people into taking action.

The first ad, by Grey London, shows a single red rose with a note attached. It reads: "Suzy, I told you to shut up you stupid cow. It's your fault I hurt you. Pete."

The second execution is a Valentine's message board covered with love notes saying things such as: "Joanna. I love picking you up in my arms and then smashing you against a wall."

One in four women is a victim of domestic violence at some point in her lifetime, while every week two women are murdered by their partners.

CHANNEL 4 - MOVIE RUSH Project: Movie Rush Clients: Jo Sathiaraj, senior commercial executive; Jon Salt, producer, Channel 4 Brief: Design and produce a new weekly film show for Channel 4 Creative agencies: Holler, Zone Writer: Matthew De Abaitua Art director: Tom Haswell Planner: James Kirkham Designer: Tom Haswell Exposure: Online


Channel 4 has launched an online film show called Movie Rush, which will air every Thursday on It will also be available on mobile phones and podcasts.

The project is designed to enable users to access reviews and trailers while on the move and decide what they want to see at the cinema on their way there.

The show reviews a selection of the latest cinema and DVD releases via a "virtual" presenter: the reviews appear in text form. The site also includes trailers, short films and interviews with Hollywood stars.

TATE & LYLE - LYLE'S GOLDEN SYRUP Project: Lyle's Golden Syrup Client: Alison Ashman, senior brand manager, Tate & Lyle Brief: Get Lyle's out of the back of the cupboard and support new variants Creative agency: Clemmow Hornby Inge Writers/art directors: Mister & Missus Planner: Sarah Clark Media agency: MediaVest Leeds Typographer: Murray Wyse Illustrator: Martin Hargreaves Print producer: Alan Wood Exposure: National press, posters


Tate & Lyle is putting £800,000 behind a three-part brand campaign for its Lyle's Golden Syrup brand.

The advertising, the first for the brand by Clemmow Hornby Inge, will comprise three stages of press and poster work. The first will be released in the spring, the second in the summer and the final stage in the winter.

The first ads promote the classic Lyle's Golden Syrup. They use old-fashioned design, artwork and typography, but the children in the pictures wear modern clothes.

One execution shows a boy and a girl taking a break from their PlayStation to enjoy Lyle's Golden Syrup on porridge. A second depicts two children attempting to scrape a pancake off the ceiling with a broom. Both ads use the strapline: "A little taste of yesterday ... today."

Last spring, Tate & Lyle launched its Squeezy Syrup range, packaged in upside-down bottles to make the contents easier to pour.

PAMPERS - SLEEP LIKE A BABY Project: Sleep like a baby Client: Guillaume Tardy, brand manager, Pampers Brief: Create an online experience for the "sleep like a baby" experience Creative agency: Saatchi & Saatchi Interactive London Writer: Ansel Neckles Art director: Simon Cheshire Planner: Greg Marshall Media agency: Starcom Media planner: Sara Edwards Designer: Simon Cheshire Exposure: Online


Saatchi & Saatchi Interactive London has launched an online campaign for Pampers to highlight the importance of sleep for babies.

The work, in the form of a microsite, explains how babies develop in their sleep. It emphasises that Pampers offers the best nappies, which means a baby wearing one will stay asleep for longer.

As well as interactive areas where users can click on icons to discover specific sleep benefits, the site ( also includes sleep tips, lullaby music downloads, advice from sleep experts and competitions.

AA INSURANCE - THE AA TEAM Project: The AA Team Client: David Tyers, head of marketing, AA Insurance Brief: Develop the AA's reputation as an insurance broker that will get you the best deal Creative agency: Rapier Writer: David Prideaux Art director: Kevin Bratley Planner: Max Wright TV producer: Lesley Redrup Media agency: PHD Media planner: Amanda Littlewood Production company: The Paul Weiland Film Company Director: Trevor Melvin Editor: Nick Diff Post-production: The Mill Audio post production: Jungle Exposure: TV


The AA is putting £10 million behind a direct response TV campaign to promote its insurance products.

The campaign, by Rapier, comprises three TV spots. In the first, the AA team is crammed into the back seat of a car, working on the car insurance of a customer who is driving to a concert.

The ad explains that the AA's broker service can save customers 40 per cent on their car insurance. The second spot features an amorous couple returning home after a date to find the living room filled with the AA team. The ad explains that online customers automatically save 15 per cent. The third spot is a combination of the two.

AA Insurance, which has two million customers, grew by 10 per cent last year.

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