CHARLIE CROMP­TON

Found­ing part­ner, Rogue

Campaign UK - - PROMOTION -

VOLK­SWA­GEN. It’s not easy to make great ads th­ese days, least of all great car ads. If you see one you like, chances are it’s ei­ther been heav­ily dis­counted to fly un­der the radar of the Pro­cure­ment Po­lice, or won by the pro­duc­tion com­pany in a blind auc­tion con­ducted by Werner from Wolfs­burg, whose day job is see­ing whether he can squeeze 1,200 spa­ces into a car park meant for 1,000 cars. Here, I can imag­ine all the con­ver­sa­tions with the lawyers: “Have Franken… Er, I mean, a generic mon­ster if you must… but he can’t have bolts in his neck. And don’t even think about a square fore­head ei­ther…”

Then clear­ing mu­sic that sounds ex­actly like The World’s Most Fa­mous Film Scores with­out ac­tu­ally hav­ing the same notes in the same or­der and hav­ing sets and ac­tors who are as close to the orig­i­nal as you can get with­out ac­tu­ally get­ting sued. The di­rec­tor, pro­duc­tion de­signer and wardrobe nail all those par­o­dies per­fectly. Fi­nally, the end­line seals it.

That’s what hap­pens when ev­ery­body works to­gether to craft some­thing great and the client trusts them. Boom!

It’s not easy to make a dif­fer­ence for Bri­tain’s Most Un­wanted Car Brand. “I want to buy a VAUX­HALL!” is some­thing that no-one has said, ever. This feels like it has spent so long bogged down in re­search, it has rather missed its mo­ment. That said, it has been deftly di­rected, well-cast and clearly ev­ery­one has gone into it with bags of en­thu­si­asm. Not sure if that will re­sult in any mums leg­ging it down to their lo­cal Vaux­hall show­room in their slip­pers. But at least it’s try­ing to do some­thing dif­fer­ent rather than a generic cre­ative idea meant to work in ev­ery mar­ket that doesn’t…

Like FIAT, for ex­am­ple. A nicely ren­dered stork drops off a baby in Generic Euro Sub­ur­bia, only to see a new “Baby Limou­sine” (please just Taser me in the nuts if I ever put those two words to­gether to de­scribe a car with four doors and a boot) over the road. He then flies over and de­posits his load, as it were, on that doorstep in­stead. No doubt they’re al­ready writ­ing their awards ac­cep­tance speeches for Ad of the Year in Italy but, over here, it’d be lucky to get Storky of the Week. I’m go­ing to have an­other look at those Vaux­halls.

PRIDE IN LON­DON’S ads are beau­ti­fully shot and cast. Pitch-per­fect pro­duc­tion de­sign – and “Don’t leave it un­said” is a great end­line. Im­por­tant work, which, if it gets just one per­son to change their at­ti­tude, has done its job – and it re­minded me, if noth­ing else, why we work in this in­dus­try. It’s not all about flog­ging point­less things we don’t need. Oh, hang on a minute…

In HIVE’S ef­fort, we have a guy on a sofa with his baby who uses his phone to turn the TV and the lights off. The truth, of course, is that what he’d ac­tu­ally do is start flick­ing through his In­sta­gram ac­count or check­ing his bid on that car­bon-fi­bre wheelset that he daren’t tell his mis­sus about. “Let’s get liv­ing” is the end­line. I’d say put your phones down and get out more, but don’t get me started…

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