Directed in-house by Scott Peake, the spot opens with a familiar Hawaiian melody and stylish title cards that inform us that, "There is no law that says you can't skinny-dip at four in the afternoon on Tuesday," as a penguin swims past, or that "you can't eat all that you want," as a camel slobbers on a faceful of hay. "It's really different out here," concludes the tag, as we see a chubby version of the chiseled Norwegian beauty posing not by the ship but in front of the kiddie train that chugs by in the background.
The lines from the Norwegian spots seemed a natural fit, "with animals that sit around and sleep and eat all day," explains copywriter Jeff Walker.
Credits to AD John Hobbs, producer Amy Faulkner and CD John DeCerchio.
Rohol is packaged in a metal can; its ads sport headlines like, "Guaranteed fresh for two years or 10,000 miles"; its name even means motor oil in German. So why is it being sold in bars and liquor stores?
It's all part of a quirky, tongue-in-cheek campaign from Minneapolis' Hunt/Murray Advertising that is launching the German liqueur as a "victimization drink," according to creative director Mike Murray.
"We wanted to create a mystique about it," explains writer Matt Elhardt. "It comes from this mysterious-looking can and it seems kind of evil. We wanted to be honest with the approach that it's a shot, the kind you torture your friends with."
With packaging by Thorburn Design, the campaign features ads and table tents that borrow inspiration from retro industrial films and brochures, which, Elhardt notes, they mimicked down to the color schemes and bad letter spacing. The table tents even encourage consumers to write a short story, poem or tool room brochure that relates to Rohol and send it to Rohol for "free prizes."
But isn't the client worried the industrial theme will fail to lube people's taste buds? "There are very few shots that people do for the taste of it," Elhardt says. "In their eyes, the nastier it seems, the better."
Other credits to design director Bill Thorburn, designer Chad Hagen and art director Steve Mitchell.
A campaign for Motorola modems was needed to address a new way of telecommunicating, explains art director Marc Klein, to reflect a world "where if you get one number wrong in an e-mail address, a message goes nowhere."
Hence, New York agency Anderson & Lembke devised a series of aggressive, visually-arresting print ads designed to stand out amid the busy pages of magazines like Wired. "Technology you can take for granted," begins one ad in small type, which is boxed and connected with a line, like a hyperlink, to the headline, "So, you just stapled a 172-page document to thin air?" and a blue-tinted photo of a hand with crossed fingers for luck.
Klein, now at Fallon McElligott Berlin, wrote and AD'd the ads with A&L's Alan Wolk. Stock photo (above) by P. Turner.
6It's the Cliff Freeman Comedy Corner!
Once again, founding funsters Cliff Freeman & Partners (at presstime, its status under Saatchi's ownership was unclear) conquers the Corner with a Staples commercial that delightfully nails an office scoundrel.
Directed by Jeff Gorman of Johns & Gorman Films, the spot opens as an eager female intern shows a male exec how she plans to save oodles of money on office equipment through a Staples catalog. The crafty nebbish acts bored and leads her away to do some "important" task.
Next, he's walking down the hall with the boss, who's holding the catalog and praising him. When they pass the intern, who's on her knees, gleefully scrubbing a refrigerator, she waves and the CEO says, "Oh, I see you've met my daughter." The schlemiel's face implodes. "If anything, this sends a message: 'Don't screw with interns,'*" says writer Michelle Roufa. Credit also ADs Rohitash Rao, Matt Vescovo; CW Jenny Noble; CD Arthur Bijur.