Jaguar’s “Actual Reality” prank from a few months ago just won big at Cannes, taking home four Lions (a gold, two silvers and a bronze). It also would have probably given me a heart attack if I’d participated.
Did Jaguar’s high-wire stunt above the River Thames in London make a big splash? You’ll have to watch and find out.
Suspended about 60 meters above the murky depths at Canary Wharf, Jim Dowdall, a veteran Hollywood stunt coordinator, attempted to drive the new Jag XF sedan roughly 787 meters across a pair of tiny carbon-fiber cables, each about the width of a human thumb.
The car was fitted with specially grooved wheels and a safety “keel” on its undercarriage for Tuesday’s crossing, which was, naturally, broadcast live online. According to Jaguar, the stunt was designed to promote the car’s lighter, mainly aluminum frame. It aimed to set a record for the world’s longest high-wire drive.
So, did the Volvo Trucks-style stunt make a big splash in terms of generating excitement for the British automaker?
The answer there is a resounding … sort of. I guess. The escapade certainly generated more media attention than your typical new-car launch. Still, the 15-minute YouTube chronicle has tallied just over 70,000 views on Jaguar’s main YouTube page—and 16,000 more on Jaguar USA. Those stats aren’t exactly meager, but still underwhelming.
The enterprise is intriguing in a WTF? sort of way, but there’s an odd, unappealing coldness here, and the dreary urban backdrop and lack of spectators are a big part of the problem. It’s as if Dowdall performed his high-wire act for the silent steel towers of London’s financial district. Images of the white Jag suspended above the grey water are almost poetic in a bleak, Ballardian way. They convey a sad sense of loneliness and modernity, testimonies to the triumph of the car, skyscraper and all-seeing media eye.
Speaking of the media, video host Gabby Logan works hard to generate a sense of excitement, but her rah-rah “reporting” comes off sounding insincere. Everything feels a tad forced, unfocused and under-explained. Beyond publicity, what the point, exactly? Even Dowdall seems nonplussed and almost dismissive of the event.
“I’ve been very lucky to be able to drive cars in some very silly situations,” says the veteran driver, who has performed stunts in Bond, Bourne and Indiana Jones films. “That’s probably one of the silliest.”
Tag, UK continues the villain-celebrating campaign Jaguar launched with in-house agency Spark44 last year in “The Art of Villainy,” a two-plus minute primer on what it takes to be a classic British villain starring Tom Hiddleston.
If you want to be a respectable bad guy, the ad contends, there a couple of requirements. You have to sound distinct, so everyone knows who’s in charge (this is probably the main reason Brits always play the part). You also need style and attention to detail, and that’s where the Jaguar comes in. The spot is entertaining and, perhaps more so than previous ads in the campaign, does a great job of tying Jaguar to the idea of the stylish British villain. Even at a dialogue-heavy over two minute run time, the premise is executed well enough that it doesn’t run thin. We expect that Jaguar will stick with this approach for a while, but if this was the last ad in the campaign it would be a fine way to go out.
Credits:
Advertising Agency: Tag, UK
Producer: Nicole Southey
Creative Director: Matt Page, Piggy Lines
Production Compnay: Rouge Films
Director: Mark Jenkinson
Producer: Tom Farley
DOP: Alex Barber
Editor: Kevin Palmer / TenThree
Music: Chris Green / Massive Music
Post-Production
Producer: Pete Jones
Shoot Supervisor: Hussein Hassani
Editor: TenThree
Flame: Hussein Hassani
Colourist: Mark Horrobin
3D Artist: Sandra Clua
Tom Hiddleston was the best thing about Jaguar's villainous Super Bowl ad, and now, two months later, he gets to shine in his own two-and-a-half-minute online spot for the automaker.
To promote the F-Type Coupe, Hiddleston explains how to act like a villain in four steps (sound, dress, drive and plan), and why British actors are so good at it. He left out the part about upper-class British accents being associated with centuries of brutal imperialism (not to mention the Revolution to American audiences), but that's a lot to process for a car commercial. Whoever wrote this ad has also mastered the villainous expositional monologue that goes on too long.
Check out four more videos below that break down Hiddleston's four steps in ways that relate more directly to the car.
As Super Bowl ads continue to roll out days before the event, Jaguar has joined the trend and released its first game day spot, "Rendezvous."
The 60-second ad from Spark 44 features a trio of "British villains," played by Ben Kingsley, Tom Hiddleston and Mark Strong. Unfortunately, we don't see them pulling off a billion-dollar caper or foiling some James Bond-ian superspy. But we do get to hear them wax eloquently about why Brits make better bad guys, and that's something.
Personally, I had wondered how they'd handle the pronunciation of the British brand, which is "Jag-waar" in America and "Jag-you-are" in the U.K. The burden of the word lands on Strong (Lord Blackwood in 2009's Sherlock Holmes), who basically says it so fast, you'll be lucky to catch it at all.
While the spot's star power is sure to merit some game day buzz, the execution does seem to suffer a bit from a "too many cooks in the kitchen" vibe. The ad is called both "British Villains" and "Rendezvous"; the hashtag is #GoodToBeBad; the URL is BritishVillains.com; and the tagline is, "How alive are you?" After all that, is there still room in your brain for the name of the car? (Hint: It's the F-Type coupe.)
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Depois de diversos teasers, a Jaguar revelou seu comercial na íntegra para o Super Bowl, que sua estreia no intervalo publicitário mais caro do mundo.
O modelo F-Type Coupeé é apresentado por três atores britânicos que recentemente interpretaram vilões em Hollywood: Ben Kingsley (“Iron Man 3”), Mark Strong (“Kick Ass”) e Tom Hiddleston (“Os Vingadores”). A hashtag #GoodToBeBad resume o conceito.
O comercial foi dirigido por Tom Hooper, de “Os Misera?veis” e “O Discurso do Rei”, e a criação é da agência Spark 44. Assista ao making of.
Post originalmente publicado no Brainstorm #9
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Primeiro, foi a “galinha da Mercedes“. Agora, a Jaguar prepara sua estreia no Super Bowl 48 com a promessa de provar, de uma vez por todas, como é “bom ser mal”. No primeiro teaser, que revela bem pouco o que vem por aí, Ben Kingsley aparece observando a chegada dos “suspeitos de costume”. Um deles, entretanto, chama a sua atenção, o “novo” entre os “de sempre”.
A mensagem aí é clara: a Jaguar quer que o seu F-Type Coupe seja uma novidade entre as montadoras que tradicionalmente anunciam na final da NFL. Se realmente vai conseguir se sobressair, só descobriremos nas próximas semanas.
Enquanto isso, é dar uma olhada no microsite British Villains, onde é possível acompanhar novidades sobre o F-Type Coupe.
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Lunging out of the gate a bit earlier than its rival automakers, first-time Super Bowl advertiser Jaguar has launched a teaser clip for its game-day ad and a related microsite called BritishVillains.com.
While the teaser doesn't shed much light on the plot of Jaguar's upcoming spot, themed "Good to Be Bad," it does reveal that the brand has tapped the talents of legendary U.K. actor Ben Kingsley.
Fresh off his red-herring role as Marvel's Mandarin in Iron Man 3, Kingsley has also been the bad guy in films ranging from 2000's Sexy Beast to 2005's BloodRayne (though I'm sure he'd rather we not mention that one).
For now, the BritishVillains.com landing page features little more than the teaser clip and info on the new Jaguar F-Type coupe, which will be the star of the brand's Super Bowl ad. Meanwhile, digital content partner Studio@Gawker continues to post villainy-themed content on the campaign's blog, Good to Be Bad.
Jaguar's Super Bowl buy is being coordinated by creative agency Spark 44 and media shop Mindshare.
For many more details on the advertisers confirmed for this year's big game, be sure to check out Adweek's Super Bowl Ad Tracker.
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Em setembro deste ano, a Mercedes-Benz usou uma galinha para falar sobre seu Magic Body Control. Não é preciso nem dizer que o filme viralizou e, menos de três meses depois, ultrapassou a marca dos 7 milhões de views. Mas talvez o melhor reconhecimento do sucesso desta ideia seja a paródia lançada pela Jaguar, que obviamente optou por um final nada feliz para a ave.
Tirando o fato de ser politicamente incorreto (como a maioria das boas paródias), ficou sensacional. A ideia não é nova, mas a sacada foi saber aproveitá-la da melhor forma possível. “Magic Body Control? Nós preferimos reflexos felinos”.
O mais divertido nessa história toda é que a Jaguar deu o crédito do filme acima aos criativos da Mercedes, explicando que a paródia é apenas o ponto de vista da montadora sobre o assunto.
Para quem quer relembrar, abaixo, o filme original.
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Fubiz vous présente en exclusivité le nouveau film Cartier pour célébrer les fêtes de fin d’année. Une collaboration avec Bibo Bergeron afin de réaliser cette vidéo d’animation intitulée « Winter Tale » : une promenade avec un bébé panthère au cœur des années 1920 dans Paris enneigé. A découvrir dans la suite.
La Jaguar F-Type est la nouvelle voiture de sport décapotable lancée par la marque. Cette merveille de technologie utilise l’aluminium comme matériau principal et Ian Callum, le directeur du design pour la marque, argue un réel focus sur le pilote. Et de fait les commandes sont inspirées du cockpit des avions de chasse.
When it comes to branded content, the better the content, the better the branding. And so it goes with Desire (below), a short film from ad agency The Brooklyn Brothers and Ridley Scott's production company, touting Jaguar's F-Type sports car.
Of course, Jag is a vehicle of excess, and the clip's 13-minute length, like the car's $92,000 price tag, is pretty darn excessive. I usually can't concentrate on anything for 13 minutes. Still, Desire held my attention all the way through with solid storytelling, visual panache (props to director Adam Smith) and strong performances from its three leads.
Homeland's dapper Brit, Damian Lewis, who would make a great James Bond, plays a "delivery man" tooling around the Chilean desert in search of the new owner of a red F-Type. He picks up perky, gun-toting Shannyn Sossamon, who is on the run from her psychopathic, drug-dealing husband. Jordi Molla just about steals the show as the scruffy gangster, spitting out lines like "Shut your face or I'll rip it into pieces" with just the right mix of humor and menace, and breathing into a paper bag in a fruitless attempt to keep his rage in check.
Desire is basically an extended car chase punctuated by zippy dialogue, a twisty plot and lots of gunfire. The film makes good use of its running time without overstaying its welcome.
As content, it works on par with the similar BMW Films series a decade ago. That comparison is inevitable—everyone else is making it, and I didn't want to feel left out!—but also pretty pointless. Art informs art, and ads inform ads. A more salient question is: Does Desire succeed as advertising?
I'd say it performs better than expected. The Jag appears in almost every shot, but that makes sense in the context of the story, so it never feels gratuitous—more like an extended product placement. The key test comes near the finale, when Lewis rattles off a litany of F-Type technical specs, at gunpoint, to prove he really is in the desert to deliver the car. The speech doesn't sound forced or out of place, and the scene would be amusing if this were an unsponsored action flick that just happened to feature a Jag.
I'm betting prospective Jaguar owners like to believe they're sorta special—and for 92 grand, who can blame them?! So, a long-form, cinematic blockbuster ad seems well suited to this particular audience. (Leave the jokey 30-second cable spots for those of us on Honda Civic budgets.) Viewers can sit back and enjoy the wild ride, ogling the F-Type's impressive design and road handling. It never feels like we're being taken for a spin by an advertising vehicle.
At the crossroads of content and commerce, Desire, like its enigmatic hero, delivers.
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Depois de muito enrolar, com teaser do teaser, teaser e trailer, a Jaguar finalmente lançou seu curta-metragem “Desire”.
Produzido pela Ridley Scott Associates, o filme tem Damian Lewis, o astro do sensacional “Homeland”, como protagonista, além do modelo F-Type que praticamente não sai de cena. A trilha sonora também é destaque, com a música “Burning Desire” da Lana Del Rey.
Não é brilhante, mas é uma ótima produção. Uma espécie de BWM Films uns 12 anos atrasado.
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When you buy anything these days, from apple juice to an Audi A6, chances are good that at least some of your money is going to a parent company that might surprise you. It is a rare and inquisitive marketing mind that can actually remember these relationships, like the fact that Minute Maid is owned by Coca-Cola or Baked Ruffles report up to PepsiCo.
Think you've got the brand savvy to match up the marketing marionettes with their corporate puppet masters? If so, take Adweek's Brand Paternity Test below and gauge your talent for spotting consumer culture's family connections.
Name the parent brand or holding company of …
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Focus sur ce roadster électrique nouvelle génération “Jaguar XKX Concept”. Un rendu excellent pour ce concept-car inspiré des lignes et de l’aérodynamisme de la célèbre marque Jaguar. Un travail du studio Skyrill et Marin Myftiu, le tout inspiré par la Jaguar E-Type.
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Seguindo a tendência de outros marcas automativas – relembre as mudanças da Peugeot e Citroën – a Jaguar abandonou a simplicidade de um traço sólido e partiu para uma construção baseada em bevel e volume.
A montadora britânica, que há 40 anos não fazia uma mudança significativa em seu logo, estreou nessa semana a nova identidade com uma comunicação criada pela agência Spark44, que inclui material impresso, TV e online.
A intenção da Jaguar é rejuvenescer a marca e valorizar a performance ao invés da tradição, alinhando com os planos futuros da empresa.
Abaixo, o primeiro comercial com a nova identidade:
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