This elementary lesson in mathematics—reaffirming that nine is more than seven—manifests itself in the form of a bizarre, humorous spot that conveys a simple marketing message for Brooklyn Gum. We open as a laid-back young courier walks into an empty elevator. He casually pushes the "9" button and the lift begins its climb.
But our messenger/delivery guy didn’t get the express ride. The elevator stops on the seventh floor, interrupting his mundane, piped-in-music-accompanied ascent. When the doors open, the steel walls of the elevator reflect an unsteady glow. In the office before him, flames rise from wastepaper baskets and shattered computers. A huge, crazed man rampages amidst the broken equipment and furniture that are strewn seemingly everywhere. The madman hoists an office worker above his head and throws him across the room as other employees cower in the background. His face etched with rage, the violent man lurches for the courier.
The latter keeps his cool. Still calmly chewing his gum, he keeps his eyes on the giant and pushes the "9" button repeatedly. The elevator doors shut just in time. The delivery guy remains remarkably nonchalant about what has just transpired, and about what may await him at the next stop.
Here the opening doors do leave him nonplussed, for he has reached almost the proverbial "Cloud 9": A bevy of gorgeous female fashion models fills the reception area. In unison they welcome him with a come-hither "hi," and several offer flirtatious glances. What a difference a couple of floors can make, indeed.
The camera focuses on a poster pinned to an office wall. "9," it reads, "is better than 7." A voiceover chimes in, reiterating what we find on a second posted flyer: "Brooklyn, now with nine sticks." Titled "Burning Office," this :30 for the U.K. market promotes the now-larger pack of Brooklyn Gum, offering two extra sticks. How’s that for something to chew on?
"Burning Office" is one of four :30s in the elevator-driven "Wrong Floor" campaign. Each commercial contrasts the nightmares on the seventh floor with nirvana just two stops above. One, "Elks’ Club" shows us a seventh floor full of middle-aged to elderly men, wearing ridiculous hats and carrying wooden paddles, leaving the impression that a weird sadomasochistic ritual is about to begin. Thankfully, the elevator doors close just in time to spare us the sight of whatever is about to unfold.
Michael Patrick Jann of bicoastal HKM Productions directed the campaign for Bartle Bogle Hegarty (BBH), London. The agency creatives were John O’Keefe, Marc Hatfield and Pete Bradley.
Lisa Prentis Margulis executive produced for HKM, with Kevin Noonan serving as line producer. The campaign was shot by DP Simon Chaudior on a stage in Prague. Stillking Films, Prague, served as the production services company on the job.
Andrea McArthur cut the spots via Sam Sneade Editing, London. The mono-monikered Barnsley of post/effects facility The Mill, London, served as senior Flame artist. Adam Scott and Liz Browne, also with the Mill, were colorist and producer, respectively.
