The Work: New Campaigns - UK

Project: Evolution of the moving image
Client: Neil Stewart, director of marketing, EMEA; Kim Purvis, European
marketing director, Motorola
Brief: High-definition quality imagery on a mobile phone.
Support16-million-colour screen, 30-frames-per-second image quality
Creative agency: Abbott Mead Vickers BBDO
Writer: Mike Sutherland
Art director: Antony Nelson
Planner: Tom Johnstone
Media agency: MindShare Worldwide
Media planner: Lee Hawkins
Production company: MJZ
Director: Nicolai Fuglsig
Editor: Paul Watts
Post-production: The Moving Picture Company
Audio Post-production: Wave
Exposure: National TV


Abbott Mead Vickers BBDO is promoting the latest Motorola handset, the Motorizr, with an epic 90-second ad. It celebrates the phone's unique high-definition screen in a commercial showing the evolution of cinema, from the silent-movie era to the present day, and how the Motorizr can play them all in cinema quality.

The agency chose horses as the best vehicle to carry the idea because they have been a mainstay of cinema history and appear in many of its genres.

The ad begins with a man on horseback, riding from the left-hand side of the screen to the right. As the execution progresses, the film flips between 11 movie genres, from Western and animation, through sword and sorcery, to Crouching Tiger-style martial arts.

The final action-packed scene is a shot of a ninja on horseback, with arrows flying all around him, as he eventually leaps through a wall of fire.

There will also be a 30-second spot.

Project: Milk
Client: Rick Bendel, marketing director, Asda
Brief: Promote the supermarket's milk
Creative agency: Fallon London
Writer: Phil Cockrell
Art director: Graham Storey
Planner: Jane Reid
Media agency: Carat
Media planner: David Hearn
Production company: Yipp
Director: Patrick Collerton
Editor: Ian Davies
Post-production: The Moving Picture Company, M2
Audio Post-production: Clearcut W14
Exposure: National TV


The second instalment of Fallon's fly-on-the-wall campaign for Asda focuses on the supermarket's milk offering.

As with Victoria Wood's appearance in the bakery, the ads are totally unscripted and comprise a series of comedy edits taken from three days of filming, as the comedian Paul Whitehouse gets his hands dirty with a bunch of Asda workers in the milk section.

One of the ads is set outside the store as Whitehouse "trains" on one of the 500 farms around the UK that supply milk to the retailer.

The ads aim to boost Asda's food credentials, and emphasise its good relationships with suppliers and the commitment of the store's workers.

Project: Calling all Gordon Browns
Client: Joe Barrell, communications director, Save the Children
Brief: Create some noise to put pressure on the G8 to abolish healthcare
fees for children in poor countries
Creative agency: Wieden & Kennedy
Writer: Fabian Berglund
Art director: Ida Gronblom
Planner: Simon Summerscales
Designer: W&K and B-Reel
Exposure: Online


Save the Children is lobbying Gordon Brown to raise the profile of its free healthcare initiative for children across sub-Saharan Africa when he attends the up-coming G8 summit.

In a bid to raise the profile of this campaign, to the general public and the chancellor himself, Wieden & Kennedy has been travelling around the country meeting hundreds of other Gordon Browns and asking them to record short video-clips explaining why their namesake should support the cause.

The clips have been uploaded to a specially created website, which can be found at Visitors to the site can express their support for the campaign by creating and uploading their own video messages.

Project: The Goodbye Cellulite Choir
Client: Gemma Winks, brand manager, Nivea Body
Brief: Encourage women to lighten up and realise cellulite needn't be
such a drama
Creative agency: TBWA\London
Writers: Stine Hole, Marie Ronn
Art directors: Stine Hole, Marie Ronn
Media agency: Carat
Production company: Partizan
Director: Leslie Ali
Editor: Amanda James, Final Cut
Post-production: Rushes
Exposure: Viral, ambient


TBWA\London has continued its recent viral work for Nivea (the last execution featured the Goodbye Cellulite Choir singing about their cellulite-free asses) by giving the girls a fully blinged-up hip-hop makeover.

The idea behind the humorous 60-second viral is the same as before, that girls who use Nivea should celebrate their cellulite-free behinds. However, this time the ad is shot in the style of a Hype Williams music video, with garish spangly clothes, bling jewelry and hydraulic low-riders bouncing around in the street.

And, as in the first ad, the agency's creatives have written a song, with lyrics such as: "I wish I was born with a rear-view mirror. Anything to bring my sweet ass nearer."

Project: Knitting nannas
Client: Dez Timmiss, marketing director, Cereal Partners UK
Brief: Shreddies are uniquely designed to deliver the great taste
everyone loves
Creative agency: McCann Erickson
Writer: John Hurst
Art director: Carole Davids
Planner: Christine Surette
Media agency: MindShare
Media planner: n/s
Production company: Upstart
Director: Harald Zwart
Editor: Nick Diss
Post-production: Absolute
Exposure: National TV


In a new campaign proposition for Shreddies, McCann Erickson has taken a decidedly silly look at the product by revealing that the cereal, which is 50 years old, is not actually produced like other breakfast cereals.

The ad goes on to reveal that the secret creation process is, in fact, that every little Shreddie is lovingly knitted by a group of grandmas.

The 40-second spot focuses on a factory that is filled with hundreds of grandmothers, all getting busy creating the cereal before the viewer is told that only a nanna can create the perfect cereal because they are the best at knitting.

Project: White-out-of-red spring burst
Client: Jacqui Kean, brand marketing director, The Economist
Brief: Surpass yourself
Creative agency: Abbott Mead Vickers BBDO
Writers: Tim Riley, Mark Fairbanks, Kirsty Ashton-Bell, Ben Mears, Brian
Art directors: Paul Brazier, Paul Cohen, Tony Hardcastle, Phil Martin
Planner: Clare Hutchinson
Media agency: Paul Gummer Associates
Media planner: Paul Gummer
Exposure: Two weeks cross-track 48-sheet, airport six-sheets, Tube card


The latest batch of ever-so-clever Economist ads are based around the idea of "surpass yourself".

Targeted at "the intellectually curious", the poster executions are designed to try to encapsulate the idea of personal success beyond the boardroom, while strengthening the relationship between current readers and The Economist brand.

One ad, called "phone", shows the mobile phone address book of an Economist reader that has the names of, among others, Roman Abramovich, Gordon Brown and Condoleezza Rice.

The campaign also includes a poster called "cogs", which is an optical illusion: the first time such a tool has been used in an Economist ad.

Project: Migration
Client: Sarah Williamson, senior Ribena brand manager, GlaxoSmithKline
Brief: Get young adults to think of Ribena as a range of delicious berry
flavours beyond the familiar blackcurrant
Creative agency: M&C Saatchi
Writer: Orlando Warner
Art director: Simon Briscoe
Planner: Bridget McCann
Media agency: MediaCom
Media planner: n/s
Production company: Tandem
Directors: Daniel Greaves, Mark Waring
Editor: Tandem
Post-production: Rushes
Audio Post-production: Rushes
Exposure: National TV


The latest Ribena TV work from M&C Saatchi again sees a number of unfortunate berries meeting a grisly end as they attempt to make it to the Ribena factory.

The £1.4 million campaign has evolved to encompass the variants for the brand, which now includes blueberry, cranberry, raspberry and pomegranate, and the old "95 per cent of Britain's blackcurrants make it" line has been changed to "billions of berries make it".

The ad, which has been in production for six months and blends live action footage with CGI, begins with a few fruits slowly moving towards their destination.

As the ad progresses, more and more berries join until there is a swarm rolling across the countryside. In the final scene, the first wave of berries are pulverised by a man on a lawnmower.

Project: LocalChoice
Client: Paula Withell, brand marketing manager, Tesco
Brief: Tesco customers can now support their local dairy farmers by
buying LocalChoice milk from small local farms in their region
Creative agency: The Red Brick Road
Writer: Sam Cartmell
Art director: Jason Lawes
Planner: Kelsey Hodgkin
Media agency: Initiative
Media planner: Danny Donovan
Production company: Stink
Director: Neil Harris
Editor: Steve Gandolfi, Cut & Run
Post-production: Framestore CFC
Exposure: National TV


Tesco is responding to consumers' growing interest in protecting local communities and small businesses by launching a scheme called LocalChoice.

This gives small farms who don't work with the store the chance to sell their produce in the supermarket.

The Red Brick Road has created a 30-second ad, starring Martin Clunes and Faye Ripley, promoting the initiative to the general public.

The execution begins with the couple on a camping trip, with the former man behaving badly looking out of place. Despite his discomfort, Clunes promises Ripley some fresh milk in the morning. So, pail in hand, he sets off in his pyjamas. But after a run-in with a cow, he spots a Tesco store and buys some fresh Cornish milk.

Project: Listerine Softmint Sensation launch DM
Clients: James Kenney, group marketing manager, oral care; Karen Baxter,
Listerine Professional marketing manager, Pfizer Consumer Healthcare
Brief: Promote Softmint Sensation to dental hygienists and dentists
Creative agency RMG Connect
Writer: Simon Kavanagh
Art director: Daryn Lawrence
Planner: Julie Borrows
Designer/photographer: n/s
Exposure: 23,505 dentists and dental hygienists


Listerine has recently launched Softmint Sensation, a new variant that has a milder flavour, designed to appeal to people who find the original flavour too harsh.

Before the launch, Pfizer wanted to promote the product to both dentists and dental hygienists, and briefed RMG Connect with the task.

The agency created a mailer designed to show that the variant was softer than other products, but that it still had some bite. On the front cover is a picture of a cute and cuddly teddybear. However, on the back page, the toy has his teeth and claws out. Inside is product information, as well as an order form for a free trial.