The latest installment in adam&eveDDB, London’s campaign for Halifax Bank stars Lady Penelope and her long suffering butler, Parker–puppet characters from the Thunderbirds stop motion animation series.
Chauffeuring Lady Penelope about in her limousine, Parker asks if he can make a quick stop at a Halifax branch. He goes into the branch with a letter and is amazed to discover he has won the top prize of £500,000 in the Halifax Savers Prize Draw Superdraw.
When asked by a bank employee what he’ll spend the money on, Parker thinks hard. Then we see him on a beach, cocktail in hand, while his boss Lady Penelope, is back at the mansion ringing the bell for attention with him nowhere to be seen!
The :40 is airing on British television.
Dom&Nic of Outsider directed, with puppetry from Century 21 Films and VFX/design provided by The Mill.
Credits
Client Halifax Agency adam&eveDDB, London Richard Brim, chief creative officer; Ben Tollett, group executive creative director; Catherine Cullen, TV producer; Jonathan John, copywriter; David Mackersey, art director; David Golding, chief strategy officer. Production Outsider Dom&Nic, directors; John Madsen, producer; Steve Elgar, production manager; Alex Barber, DP; Stephen La Riviere, Thunderbirds consultant Puppetry Century 21 Films LTD Andrew T. Smith, Geraldine Donaldson, Richard Gregory, Elliot Pavelin, Toby Chamberlain, Hilton Fitzsimmons, puppeteers. Editorial Final Cut Struan Clay, editor; Frankie Elster, producer. VFX & Design The Mill Alex Fitzgerald, exec producer; Kirsty Ratcliffe, producer; Neil Davies, shoot supervisor/executive creative director; Fergal Hendrick, 2D lead artist; Jonathan Wood, shoot supervisor/3D lead artist; Alex Hammond, 3D lead artist; John Thornton, Gavin Marler, Nick Sze, Federico Ghetta, Zoe Cosh, James MacLachlan, Olivia O’Neil, Jose Caballero, Greg Spencer, Rebecca Clay, Adam Maynard, George Rockliffe, David Wishart, Richard Payne, Dan Adams, Gary Driver, Georgina Ford, Richard De Carteret, Sal Wilson, 2D artists; Ashley Tilley, Giacomo Cavalletti, Sergio Xisto, Hitesh Patel, Peter Agg, Will Burdett, Matthew Kavanagh, Jasmine Ghoreishi, Tom Hales, Alberto Lara, Alain Thay, Adam Droy, Finlay Crowther, Arnau Gilabert, Joshua Barlow, Roberto Costas Fernandez, Andrew Bartholomew, 3D artists; Rainer Stolle, German Casado, Jiyoung Lee, matte painting; Aurelien Ronceray, art department. Color The Mill David “Luddy” Ludlam, colorist; Thomas Mangham, Brendan Buckingham, color assist. Audio 750mph Sam Ashwell, engineer.
Children’s charity Barnardos is releasing this thought-provoking film created by BBH Dublin to highlight the challenges some children in Ireland face.
Barnardos knows that to understand a child’s issues takes time and work. It’s not a quick fix.
That forms the basis of the new film in the “Change Their Story” campaign, which follows a young boy recounting a childhood birthday. It begins with him telling a story of a perfect day, surrounded by friends, family, presents and a huge cake topped with candles.
The story is then retold again and again. With each blow of the candle, more of the facade is chipped away to get to the truth; that his birthdays weren’t very special. The story ends with the boy, now in his teens, opening up about his real childhood experience to a Barnardos keyworker. All laddering up to the enduring line, “Because childhood lasts a lifetime.”
BBH Dublin worked closely with Barnardos to capture the reality of the healing process on film--how it’s an ongoing journey that requires continued support. David Leon directed via production company Iconoclast.
Evonne O’Rourke, production lead, BBH Dublin, added, “We felt a real responsibility to produce a piece of work that had impact and the power to support the brilliant work that Barnardos does. We knew we had a great script on our hands, but it was crucial that the idea was underpinned by craft that protected the authenticity of the story.
“It was a fine balance to strike--the production design, edit, sound design and color grade all had key parts to play in shaping and enhancing the narrative but not in a way that would overpower or become the focal point of the film.”
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