Launching on 26 June, the Mini convertible model is aimed at the pre-family, affluent, thirtysomething group. Mini usually targets the older, empty-nester audience for the main brand, but the convertible model is expected to appeal primarily to a younger audience.
The media strategy, also by WCRS, looks to target the thirtysomething group with TV ads running on national and satellite TV. Outdoor ads will run nationally on 48-sheet sites and building wraps will appear on sites in the UK's main cities.
The campaign will also see a heavy London Underground presence, from 1 July, which aims to replicate a theatre or film launch. Three online executions hope to drive traffic to the Mini website.
The ads are aimed at men and women but to counter the tendency WCRS has identified for a small, convertible car to be perceived as "girlie", the creative behind the campaign is overtly masculine.
The campaign idea takes famous film stories and re-enacts them with the Mini convertible in a starring role.
Three 20-second spots introduce the idea of the Mini Open Air Theatre, which presents Mini's version of Mutiny on the Bounty, Rio Grande and Lassie Come Home.
"Mutiny on the Bounty" is a take off the 30s Charles Laughton film. The ad features Captain Bligh and Fletcher Christian driving Minis while arguing over Bligh's botanical samples.
"Rio Grande" is a classic western bank robbery spot, featuring a sheriff/robber chase in Minis, and "Lassie Come Home" shows a heroic Lassie sitting in a Mini on top of a rock, which she then drives home.
All the ads have the endline: "It's a Mini adventure."
The outdoor work presents the convertible Mini in versions of Born Free, Scott of the Antarctic and Twister. Online executions, by WCRS's interactive division, Meme, show adaptations of Gladiator, Black Knight and Dracula.
Ysabel Vazquez, the Mini marketing manager, said: "The brief was to push the brand's cheekiness while avoiding the usual convertible car ads cliches at all costs."
The ads were art directed and copywritten by Dave Kelly and Jude Healey respectively. Media buying was handled by Vizeum, Posterscope and ZED.