Campaign Craft: Craft Secrets - How an aged Italian demonstrated the strength of Lockets - Mairi Clark discovers how ’razor blade’ sore throat symptoms are mimicked

Animation is used in the latest Lockets campaign by Pat Doherty and Greg Martin of Abbott Mead Vickers BBDO to authentically illustrate how Lockets work.

Animation is used in the latest Lockets campaign by Pat Doherty and

Greg Martin of Abbott Mead Vickers BBDO to authentically illustrate how

Lockets work.

Doherty says: ’We wanted to express how people feel when they have a

cold. The feelings of razor blades in the throat and red, weepy eyes

can’t really be conveyed without animation.’

The directing duo, the Brothers Quay, were chosen for the task because

they understood what was required and their style was what Doherty and

Martin wanted.

The first step was to find a model to represent a cold-sufferer. The

brothers eventually found what they were looking for at an antiques

market - an 18th-century Italian wooden head. Steven Quay says it was

’very expensive’ but that he’s not really certain of the going rate

anyway. He adds: ’She had this most beautiful, timeless face. We had to

have her.’

With the help of a friend who restores antiques, the brothers made a

mould from the head and put a body on it, including a box at the throat

for a camera to zoom in to. The finished template was four feet


Two models were created from the mould, one to signify the rusty,

’before’ image of the cold sufferer and one for the relieved, ’after’

face. Moveable eyes were fitted so the model would have a human image,

operated from the back of the head. The brothers are both accomplished


After the model exterior was completed, the Quays created the inner

workings of the throat and started to communicate visually the feeling

of the razor blades and how Lockets might ease the pain. A set measuring

two feet by three wide and six feet deep was built in the brothers’

Bermondsey studio.

Steven Quay says: ’We would normally create a bigger model, but with the

wooden model it made more sense to use that and create a big set for the


The throat was built as a theatre set with moving parts made of metals

on either side and above, depicting the tongue and the uvula.

The set was reduced in post-production to match the space under the

model’s face, and vapours from Lockets were added on Flame. The finished

ad was very metallic and structured, so Doherty and Martin commissioned

special music from Dial M for Music, and the Quays were involved at this

stage too.

The creation of the ad, from the purchase of the model to completion,

took six weeks and Steven Quay confesses it was a difficult job. ’We

were lucky to find the right model. It took us four weeks to create the

set and moulds. If we had not found her, it would probably mean one of

us pouring a mould using our own face,’ he laughs.

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