campaignlive.co.uk, Thursday, 13 December 2012 08:00AM
Agency: Albion; creatives: Dave Mygind and Debs Gerrard; agency producer: Petrina Kilby; facilities house: 750mph; sound engineer: Gary Walker
Hi, my name is Paul Walshe and, in 2007, I was diagnosed with leukaemia… I needed a blood stem cell transplant from a donor, and I needed it to stay alive. Unfortunately, my sister wasn’t found to be a match for me, so I was told that the transplant would have to come from an unrelated donor. So, Anthony Nolan began to search their register. I was really beginning to lose hope. It’s an awful feeling just waiting… waiting for something that you’re not sure will actually come… Amazingly… one morning, I got a call to say they’d found someone. Anthony Nolan just never gave up on their search, and they really came through for me.
They were brilliant. They found…
Hi, I’m Stuart McKechnie, and I’m an engineer from Cirencester. I joined the register in 2011 but, unfortunately,
I’m not a match for Paul.
Hey, my name’s Laura, I’m from Newcastle and I work in a restaurant. I’m sorry to say that I’m not a match for Paul.
Hello, my name’s Andy Mitchell and I’m from Liverpool. I joined the register in 2006 and, a few years later, they found that I was…a perfect match… Someone in the world that matches me… and matches me perfectly… Life doesn’t have to end… It really is the best gift you could ever give. [pause] To find out how you can be part of their vital work, visit anthonynolan.org. Help them find more matches… And save more lives.
Agency: Leo Burnett; writers: Rob Tenconi, Mark Franklin; agency producer: Adam Furman; facilities house: Factory; sound engineer: Sam Robson
SFX: Crowd noise at a football stadium. With a slight nervousness in his voice, a familiar-sounding football commentator speaks.
Commentator: This, for a place in the final. He puts the ball on the spot, the valve facing the goal. Actually, it looks a fraction underinflated. At least half a pump off perfect! [His voice reaches stratospheric heights, now shouting with massive excitement.] And he shoots. Five rotations, six. It’s in. Everyone’s jumping to their feet. One man’s dropped his pie. It’s beef and onion.
VO: Enjoy the thrill of sport in exquisite detail this summer, with Freeview HD. Free from contracts. Free for everyone. Freeview. How good is that?
Legals: Subject to coverage. Aerial upgrade may be required.
Agency: Bartle Bogle Hegarty; writers: Chris Clarke, Matt Moreland; agency producer: Sam Brock; facilities house: Jungle; sound engineer: Toby Griffin
Mum: That’s a large bowl of Weetabix. Big day today?
Daughter: Yes, Mum. First, I’ll empty my wardrobe on the floor and dress from head to toe in pink. Pink socks, pink wig, pink shoes. Next, I’m going to make a tiara out of pasta and cookies… and I’ll crumble up the bits of cookies and stick them on, to make the diamonds for it. Then I’ll pick all the flowers in the garden and make some perfume. So, I’m going to make the perfume like this. First, I’m going to get a sieve, two bowls from the kitchen and then I’ll go and pick all the flowers and mash all the herbs and mints and stuff up, stir it round with my spoon and then that will be it.
Daughter: Next, I’ll make a tea party in the bottom of the garden… and I’ll invite my best friend, Savannah, and another friend, a lollipop.
VO: Packed with slow-release energy to keep you going. Weetabix. Fuel for big days.
Agency: Rainey Kelly Campbell Roalfe/Y&R; writers: Mike Boles, Jerry Hollens; agency producer: Dan Neale; facilities house: Factory; sound engineer: Dan Beckwith
SFX: Clock ticking.
FVO: Don’t forget the clocks go back on the 28th October.
We’ll all be going round our homes changing them by an hour.
All except for 226 people. They won’t be doing it this year. It’s not because they can’t be bothered, it’s because time has stopped for them.
SFX: Ticking stops.
They’ve died in house fires since this time last year.
So there’s one extra thing we’d like you to do; it won’t take much time.
When you change your clock, test your smoke alarm.
Fire kills. You can prevent it.
Agency: Abbott Mead Vickers BBDO; writers: Charlotte Adorjan, Michael Jones; agency producer: Paul Burke; facilities house: Jungle
FVO1: I bump into my friend at the bus stop.
FVO2: You bump into your friend at the bus stop.
FVO1: I take off my pashmina and show her my new necklace.
FVO2: You take off your pashmina and show her £150.
FVO1: I fiddle with the necklace as we talk.
FVO2: You fiddle with the money as you talk.
FVO1: I say goodbye and walk home.
FVO2: You keep the money on view and walk home alone.
End VO: Thieves see your possessions differently, so take care where you take them out. Here for London.
The Metropolitan Police Service. For more information, visit met.police.uk.
Agency: Ogilvy & Mather; writers: Jason Mendes, Andy Wyton, Giles Montgomery; agency producer: Ruth Darsow; facilities house: Jungle; sound engineer: Graham Elston
We hear a regional male voice talking in a breezy, conversational style:
I was driving with Vincent, my tall, short friend, who was regaling me with the most hilariously tragic stories while the rain pelted down out of a clear blue sky.
"Great car, this," said Vincent with disgust.
"You’re right," I disagreed.
"And I do hate the lovely colour," continued Vincent. "It’s a sort of midnight sunrise."
"Yes," I said. "But you know the most interestingly dull thing is the engine, which is both big AND small."
"I don’t understand," nodded Vincent.
"Well," I said. "It gives the power of a large engine with the fuel efficiency of a small one."
"That makes perfect sense," she said.
Brand voice :The new EcoBoost engine in the Ford Focus. A triumph of contradiction.
Ford. Go further.
Agency: Abbott Mead Vickers BBDO; writers: Steve Jones, Martin Loraine; agency producers: Rebecca Scharf, Claire Toms; facilities house: 750mph; sound engineer: Ben Gulvin
Sounds in this commercial are loud but muffled and indistinct, as if heard through a wall. The overall impression is chaotic disorder and destruction.
FVO: Women’s Aid want the public to help stop domestic violence by calling the police if they hear it.
We want people to get used to the idea that making a call stops the sounds of domestic abuse.
The following sounds are typical. This, for example, is a woman being punched in the face:
SFX: Muffled argument and something crashing to the floor.
FVO: This is a woman’s fingers being trapped in a door.
SFX: Muffled slamming door and shout of pain.
FVO: This is a woman’s jaw being broken.
SFX: Muffled scuffle and woman’s scream.
SFX: Man shouting angrily as a woman cries.
FVO over SFX: The sounds are distressing – we’d understand if you never want to hear them again. In fact, we’d welcome it. To stop the sounds, call 0800 58 77 33 2. Until someone calls, the sounds will continue.
FVO: This is a woman being pushed down stairs.
SFX: Muffled banging and screaming.
FVO: To stop the sounds, call 0800 58 77 33 2. Just as in real life, making a call can make it stop. Womensaid.org.uk.
Agency: Abbott Mead Vickers BBDO; writer: Paul Burke; agency producer: Paul Burke; facilities house: The Lab; sound engineer: Andy McLennan
Caroline Quentin: I’m always wondering what counts as one of your five-a-day. I thought red wine might because it’s got grapes in it, but sadly not. Then I discovered something red that does count – Heinz Tomato Soup. One bowl counts as one of your five-a-day. How could I not have known that? Now I’ve got something to look forward to because, curled up on the sofa, what’s going to warm you through? A stick of celery? Or a bowl of tomato soup? Exactly. But, of course, it has to be Heinz.
Agency: Leo Burnett; writers: Ed Morris, Andy Drugan; agency producer: Adam Furman; facilities house: Factory; sound engineers: Sam Robson, Anthony Moore
We are in a recording studio with the pop group The Tremeloes.
The engineer says: "Two, three…"
The band practice the chorus of Silence Is Golden.
Suddenly, an almighty CRUNCH interrupts the song. Someone is eating in the studio – the engineer.
The Tremeloes carry on.
They play on…
They try to continue singing the chorus of Silence Is Golden, despite the crunching.
SFX: CRUNCH!!! CRUNCH!!! CRUNCH!!! and continue to play.
SFX: CRUNCH!!! CRUNCH!!!
Singer: Stop crunching!
Engineer: Sorry! They’re nutty.
The performance falls apart as the band stop playing. They are a little irate.
Singer: I’ve had enough…
VO: Kellogg’s Crunchy Nut. Delicious nutty flakes drizzled in honey.
The trouble is they taste too good.[CRUNCH, CRUNCH.]
Agency: Mother; writer: Mother; agency producer: Mother; facilities house: Factory; sound engineer: Tom Joyce
All of the dialogue up until Monkey’s entrance has a dreamlike quality to it. SFX: Purring animal. Perhaps a soft growl. Otherworldly.
Al: [emotional] I’m sorry, Marmalade Horse Fish. We have to part ways.
MHF: [Weird purring, soft growls]
Al: Don’t cry, Marmalade Horse Fish. It’s not you, it’s me. I’m waking up.
I have to go back to real life.
MHF: [Weird purring]
Al: Of course I won’t forget you.
Al: This? It’s a refreshing cup of
PG Tips to wake me up gently on a fair morn. To ease me out of sleep and into the day.
Al: Bye [sips tea].
SFX: Harp – emerging from dream.
Monkey: [chipper] Morning, Al.
Al: He’s some guy, Monkey.
Monkey: What’s that?
Al: Marmalade Horse Fish. Top bloke.
Monkey: [weirdo] Ooookay.
Endline: Rise and shine with a wakey uppy cuppa of PG Tips.
This article was first published on campaignlive.co.uk