Серебряные призеры в номинации Titanium & Integrated Lions

CORALINE

Type of Entry: Titanium and Integrated

Title: CORALINE

Advertiser/Client: LAIKA

Product/Service: CORALINE FEATURE FILM

Entrant Company: WIEDEN+KENNEDY Portland, USA

Advertising Agency: WIEDEN+KENNEDY Portland, USA

Creative Credits

Name Company Position

Phil Knight Laika Chairman

Travis Knight Laika CEO

Henry Selick Laika Director

Claire Grossman Laika Producer

Susan Hoffman Wieden/Kennedy ECD

Mark Fitzloff Wieden/Kennedy ECD

Bill Davenport Wieden/Kennedy Entertainment President

Wk Five Wieden/Kennedy Ad/Copywriter

Maya Roberts Wieden/Kennedy Studio Manager

Paul Levy Wieden/Kennedy Designer

Ken Smith Wieden/Kennedy Account Director

Matt Kelly Wieden/Kennedy Strategic Planner

Jennifer Fiske Wieden/Kennedy Producer

Sean O'brien Wieden/Kennedy Digital Director

Marcelino Alverez Wieden/Kennedy Ex. Interactive Producer

Kris Hanson Wieden/Kennedy Ex. Interactive Producer

Jeremy Lind Wieden/Kennedy Interactive Producer

Suzanne Twining Laika Animator

Describe the campaign/entry:

Coraline is the first feature film from LAIKA. Directed by Henry Selick and based on a book by Neil Gaiman, it is the first stop-motion animated feature filmed entirely in 3-D. Coraline looked like a film for eight-year-old girls, but we knew it had more potential. Our challenge was to get a broader audience excited about it. So we developed a fully integrated three-tiered strategy. Phase one activated online communities to build a foundation of support. Phase two created intrigue on a mass scale and introduced mysterious elements of the film into the real world, driving people to our website to learn more. Phase three created mass awareness for the film and its launch date. Creatively, our campaign allowed the public to experience the movie’s story and its world far beyond the film itself. Everything we did reflected the handcrafted, completely unique nature of the movie itself. Creatively, our campaign allowed the public to experience the movie’s story and its world far beyond the film itself. Everything we did reflected the handcrafted, completely unique nature of the movie itself.

Give some idea of how successful this campaign/entry was with both client and consumer:

The boxes generated such hysteria that some fans made their own. Websites sprung up just to track the campaign and the boxes as they surfaced. One week prior to launch, two of the five sites driving the most traffic to Coraline.com were talking about the influencer boxes and estimated online impressions directly linked to the boxes were 1,898,000. Of all the estimated online impressions over the course of the campaign, approximately 30,000,000 occurred before Coraline’s theatrical release and can be attributed to the campaign. Coraline.com visitors reached 845,000 before the movie’s release, more hits than three comparable movies opening during that same time period, combined. The best news came during opening weekend. Projected to make $9 million, it made $16.8 million and within its first month became Focus Features’ second highest grossing film ever, pulling in a much larger contingent of the moviegoing public than eight-year-old girls.

Describe how the campaign/entry was launched and executed across each channel in the order of implementation.

To start with, we hand-made 50 one-of-a-kind boxes, filled with desirable relics from the set of the movie and sent them to our influencers. Each box was designed with that of a single influencer in mind and included secret passwords that unlocked exclusive short films about the movie on Coraline.com. To create intrigue about the film we made thousands of skeleton keys that said “coraline.com” and mysteriously placed them in major metropolitan cities throughout the U.S. Other phase two elements included interactive storefronts, subway zoetropes, a creepy inflatable character that haunted a NY sidewalk at midnight, a fully explorable website and limited-edition Nike Coraline Dunks. We finished where traditional movie marketing begins: with trailers, online banners, cinema, out of home, newspaper and lenticulars, as well as original content for the web and cable networks (IFC and HBO), and a blog “written” by one of the characters from the film.

THE HOUSE OF IMAGINATION

Type of Entry: Titanium and Integrated

Title: THE HOUSE OF IMAGINATION

Advertiser/Client: HORNBACH HOME IMPROVEMENT SUPERSTORES

Product/Service: DIY & HOME IMPROVEMENT SUPERSTORES

Entrant Company: HEIMAT Berlin, GERMANY

Advertising Agency: HEIMAT Berlin, GERMANY

Creative Credits

Name Company Position

Guido Heffels Heimat/Berlin Executive CD

Matthias Storath Heimat/Berlin CD Copy

Kai Gerken Heimat/Berlin CD Art

Susanne Düber Heimat/Berlin Copy

Maria Botsch Heimat/Berlin Graphic Artist

Ralf Schmerberg Trigger Happy Productions Director

Stephan Vens Trigger Happy Productions Producer

Miliane Nani Meimeth Trigger Happy Productions Producer

Kerstin Breuer Heimat/Berlin Agency Producer

Markus Mueller Heimat/Berlin Photographer

Danny Baarz Heimat/Berlin Art Director

Frank Sahler Hornbach Head of Advertising

Sylvia Spaethe Hornbach Advertising

Mosermeyer Heimat/Berlin Sound Design TVC 1

Audioforce Heimat/Berlin Sound Design TVCS 2

Describe the campaign/entry:

In August 2008, the HORNBACH Home Improvement Superstore chain created a poetic promise that only a company of that size could possibly make good on. IF YOU CAN IMAGINE IT, YOU CAN BUILD IT. The idea became real by founding the HOUSE OF IMAGINATION, an old empty apartment building in the middle of Berlin. 12 international artists turned the standard living rooms provided into amazing, bizarre, fantastic experiences. The location turned into a place to be by strictly limited music club and restaurant. Needless to say, we had classic advertising before and after the HOUSE OF IMAGINATION.

Give some idea of how successful this campaign/entry was with both client and consumer:

More than 2,000 people attended the official opening, which once again put Hornbach on the map of D.I.Y. and cultural life in general. The event drew attention worldwide and made Hornbach stand out from the massive field of competitors who usually focus on low prices and even lower prices. In total 18.000 people showed up to see the HOUSE OF IMAGINATION event and exhibition. Sales at the 11 Berlin Hornbach Stores increased by 30% shortly after the massive press echo and word of mouth.

Describe how the campaign/entry was launched and executed across each channel in the order of implementation.

The main 2008 theme was brought to life via TV. The event and exhibition was announced and documented with a billboard and ad campaign as well as an internet site that regularly provided progress updates. Before and after we used massive classic media to get the message heard from Sweden to Romania. Even after event, the campaign remained in the streets with billboards and Super posters.

TREEHOUSE RESTAURANT

Type of Entry: Titanium and Integrated

Title: TREEHOUSE RESTAURANT

Advertiser/Client: YELLOW

Product/Service: BUSINESS DIRECTORY

Entrant Company: COLENSO BBDO Auckland, NEW ZEALAND

Advertising Agency: COLENSO BBDO Auckland, NEW ZEALAND

Creative Credits

Name Company Position

Nick Worthington Colenso BBDO Executive Creative Director

Steve Cochran Colenso BBDO Creative Director

Dave King Aim Proximity Creative Director

Anne Boothroyd Colenso BBDO Creative

Tony Clewett Aim Proximity Creative

Aaron Goldring Aim Proximity Creative

Maria Lishman Colenso BBDO Creative

Nick Worthington Colenso BBDO Creative

Steve Cochran Colenso BBDO Creative

Dave King Aim Proximity Creative

Paul Courtney Colenso BBDO Project Manager

Matthew Pickering Aim Proximity Account Service

Ngaio Pardon Colenso BBDO Account Service

Victoria Pether Aim Proximity Account Service

Karen Boulton Aim Proximity Account Service

Krystel Houghton Colenso BBDO Account Service

James Hurman Colenso BBDO Planner

Nigel Sutton Colenso BBDO Agency TV Producer

Stephen Langdon Reload Photographer

Michael Reihana Mike Ltd. TV Production Company Producer

Describe the campaign/entry:

Yellow say they can help anyone get any job done. We decided to prove it by challenging someone to build a restaurant in a tree only using Yellow Pages to make it happen. We picked Tracey, an unknown accordion player from 200 applicants, and based her in a redwood forest with Yellow books, a laptop and mobile phone. Over three months she worked with more 65 Yellow listed companies to build a tree house restaurant. We documented the whole event and kept New Zealand updated with TV, outdoor and a website. Tracey even opened the restaurant and more than 2000 people enjoyed the experience of dining there in its first month.

Give some idea of how successful this campaign/entry was with both client and consumer:

Other than proving you can get any job done with Yellow we had these results: We generated an estimated 3.5 million in media coverage. Including being featured in newspapers, on radio talkback, television news and magazine shows, in over 60 international magazines, and on more than 20,000 websites. We attracted 220,000 visitors to our website averaging 5 minutes per visit. We lifted unprompted brand recall up by 37%. Regional directory sales up 6.7% against international trend. Yellow Online usage up 11% at expense of Google. Yellow Book usage up 9.2%. This campaign was three times more effective than any previous Yellow campaign. And Yellow is now asking “What are we going to do next year.”

Describe how the campaign/entry was launched and executed across each channel in the order of implementation.

This campaign started with a small space ad in the newspaper asking for applicants to take on our challenge for a few months. We chose Tracey. We launched with a 30 second TV spot that explained her challenge to the country. Outdoor billboards and online banner ads supported it and everything directed you to our website yellowtreehouse.co.nz. Over the next three months Tracey used Yellow listed companies to actually build a restaurant in a tree. You could watch progress live online, and we made 15 second update TV ads and more billboards. PR and media interest was enormous. At the end of three months the restaurant was complete and Tracey opened for bookings online, booking out every day of January within a couple of days. We ran a 60 second TV ad that retold the whole story from beginning to end culminating in the first dinner in the tree beneath the stars.

HD LOVES HB

Type of Entry: Titanium and Integrated

Title: HD LOVES HB

Advertiser/Client: HAAGEN-DAZS

Product/Service: HAAGEN-DAZS

Entrant Company: GOODBY SILVERSTEIN & PARTNERS San Francisco, USA

Advertising Agency: GOODBY SILVERSTEIN & PARTNERS San Francisco, USA

Creative Credits

Name Company Position

Jim Elliott Goodby/Silverstein And Partners Group Creative Director/Copywriter

Margaret Johnson Goodby/Silverstein And Partners Group Creative Director/Art Director

Andrew Bancroft Goodby/Silverstein And Partners Copywriter

Brooks Jackson Goodby/Silverstein And Partners Copywriter

Matt Rivitz Goodby/Silverstein And Partners Copywriter

Tanner Shea Goodby/Silverstein And Partners Art Director

Tyler Magnusson Goodby/Silverstein And Partners Art Director

Cris Logan Goodby/Silverstein And Partners Designer

Hilary Coate Goodby/Silverstein And Partners Senior Agency Producer

James Horner Goodby/Silverstein And Partners Executive Agency Producer

Leslie Barrett Goodby/Silverstein And Partners Group Account Director

Erin Fromherz Goodby/Silverstein And Partners Account Manager

Laurent Ledru Psyop Director (opera)

Cedric Nicolas-Troyan Psyop Director (opera)

Trish Sie Bob Industries Director (krumpin' And Disco)

Describe the campaign/entry:

Our challenge was to give a super-premium ice cream brand renewed momentum and relevance in an increasingly earth-conscious society. As Colony Collapse Disorder threatened the U.S. bee population, agency planners recognized that one-third of all the natural products we humans eat could disappear – and with it, 40% of the natural flavors used in Häagen-Dazs ice cream. So they convinced Häagen-Dazs to put their trust in the idea of creating an integrated program, “HD loves HB,” to help preserve both the brand’s long-term future and the well-being of its all-natural workforce: The honey bees.

Give some idea of how successful this campaign/entry was with both client and consumer:

The result was one of the fastest-moving media and PR stories of 2008: 125,000,000 PR impressions in the first week, with real contributions to bee research ($250,000 and counting). Häagen-Dazs’ revenue has increased 7% in 2008 and sales are up 10%. That’s double-digit growth in less than a year.

Describe how the campaign/entry was launched and executed across each channel in the order of implementation.

HD loves HB launched with a new flavor, Vanilla Honey Bee, with proceeds donated to help fund honey bee research. A magazine insert made of seed paper enabled consumers to bury it in the ground and grow wild flowers for the bees to feed on. Helpthehoneybees.com gave visitors a space to learn about the problem and help spread the word, while bee-dance videos brought the problem to the attention of millions of Earth-conscious YouTubers. Grocery retailer, Whole Foods, was so inspired by the promotion that in an effort to raise more awareness of the plight of the bees, they removed every bee-dependent product from its shelves for a day. Finally, Häagen-Dazs, together with a coalition of national beekeepers, testified on the bees’ behalf in front of Senator Hillary Clinton and the House Agricultural Subcommittee on Capitol Hill and urged Congress to allocate funding for additional honey bee research.

28.06.2009