In the lead entry of this week’s Short Takes column, we cover the “Elect Susie” campaign created by Fallon Minneapolis for the Children’s Defense Fund (CDF). The work is designed to help build awareness of CDF’s legislative program called the “Healthy Child Campaign,” which looks to address the children’s healthcare crisis in the United States.
A major component of the Fallon package is a series of TV commercials in which 10-year-old Susie Flynn makes a strong case for her candidacy for the country’s presidency. In a spot titled “Announcement,” Flynn announces that she’s in the race. If elected, she promises to make sure the more than 9 million uninsured children in America gain health care coverage. Among the other ads is “Lincoln” in which Flynn asks the statue of President Abraham Lincoln in the Lincoln Memorial if there’s any reason why such a rich country can leave so many children without health coverage. She interprets the silence as there being no earthly rationale, prompting her to tell Lincoln that she agrees with his assessment.
The spots were directed by Academy Award-winning documentary filmmaker Barbara Kopple (Harlan County, USA, and American Dream) via bicoastal Nonfiction Spots.
Clearly Fallon’s creatively inspired work is first and foremost for a worthwhile cause. Yet a couple of secondary observations–a tale of two departures from the norm–hit me upon first viewing it.
For one, “Elect Susie” is the antithesis of what is the political advertising standard that consists of mudslinging, fear mongering and negativity. Indeed advertising’s role in political campaigns for the most part represents a figurative black eye for our industry. To now see a positive, uplifting strategy deployed in “Elect Susie”–albeit for a candidate who’s a minor–is nonetheless refreshing.
Sadly, this campaign’s other departure is from much of the advertising done for so-called health maintenance organizations over the years. Talented creatives have cleverly promoted HMOs, frequently tugging at the heartstrings or even employing humor to try to help cast these clients in a favorable public light. The commercials include warm, fuzzy images of family members enjoying time together, of youngsters laughing and playing with friends in the backyard, of “we care” testimonials and other “patient comes first” messages in line with the Hippocratic oath–or as M*A*S*H’s Hawkeye Pierce said, “You better make that my golfer’s oath, which is more binding.”
I don’t mean this as an indictment of all HMOs but it’s safe to say that there are many instances where a significant number fall far short of caring for their patients properly.
The “Elect Susie” work made me recall my early years covering this business when I befriended a copywriter who quit an agency because he thought the advertising for an HMO client was hypocritical and he couldn’t in good conscience continue to be a part of it. He explained back then that “life is too short” to do that kind of work..
Unfortunately, for some, it can be even shorter if they have the wrong HMO.
Where The Buffalo Roam Signs Director Geordie Stephens For Spots and Branded Content
Production company Where The Buffalo Roam (WTBR) has signed director Geordie Stephens for U.S. representation spanning commercials and branded content. Stephens is known for his subtle performance-driven comedic style, emphasizing art direction, production design, and cinematography. Previously represented by Tool of North America, Bullitt and FANCY, Stephens has a commercial portfolio which includes such global brands as Mini Cooper, HP, Toyota, Bud Light, and Burger King. A former agency creative, Stephens transitioned to the director’s chair following a lengthy career on the agency side as a creative at Butler, Shine & Stern and CP+B Miami, among other shops.
PJ Koll, WTBR co-founder and executive producer, said of Stephens, “His expertise and talent perfectly complement our creative strengths, enhancing our ability to deliver at the highest level. We feel incredibly fortunate to have him join the herd.”
“When I met Tim [WTBR exec producer Pries] and PJ, we immediately hit it off,” added Stephens. “They’re super sharp, funny, and good people who have assembled a very interesting mix of talent with different skills. As a director, I’m always looking for simple human truths that everyone can relate to in a humorous and smart way. The Buffalo team specializes in the small wink, so they get my sense of humor and will give me the platform to keep pushing great work forward.”
During his advertising career, Stephens spearheaded campaigns for IKEA, Truth, Virgin Atlantic, Burger King, Sprite, and Volkswagen. His work also won top prizes at the Cannes Lions and Clios and has been honored by numerous One Show and AICP awards.
Raised in an artistic community in California’s Marin County by his writer-mother and... Read More