Titel | Dishes |
Agentur | Wieden+Kennedy |
Kampagne | Every dish, everytime |
Werbende | Reckitt Benckiser |
Marke | Finish |
Datum der ersten Ausstrahlung/Veröffentlichung | 2015 / 4 |
Geschäftsbereich | Reinigungsprodukte & Waschmittel |
Story | Modern life is riddled with dirty dishes, and Finish wants to help.A new 40-second, rapid-fire ad created by Wieden + Kennedy London for the dishwasher soap (owned by Reckitt Benckiser) runs through the various types of human activities that might make a mess of plates, bowls and glasses—and it turns out pretty much all of them do. |
Philosophie | The deliberately grandiose concept could easily feel like an overreach for a mundane product, but the execution is brisk enough—with enough rich detail, quirky absurdity and clever insight packed in—to actually be kind of delightful, like when a shellshocked new father is beset by a gang of floating, filthy baby bottles.It also shows W+K's knack for punching up the emotional significance of even dull brands with beautifully shot spots. "Dishes," directed by Riff Raff's Megaforce, feels a bit like a cross between W+K London's hypnotizing work for Lurpak butter and the Portland mothership's slice-of-life campaign for Target from a few years back. It probably helps that the Finish idea is loosely based on the fundamental truth that everyone has to, you know, eat. But it should resonate particularly with anyone who's ever looked at a stacked sink after a hearty meal and thought, in a moment of extraordinary laziness, "Really? Again?"The voiceover's kicker, "Every dish, every time," drives home the point that the product will leave you freer to focus on what matters, rather than living elbow deep in pots and pans. A second new ad takes a similar quick-cut approach, from the narrower perspective of a single glass. It's also full of deft touches that tell smaller stories within the bigger one. (If the vessel is hosting a party on Saturday, it's helping cure heartburn on Sunday.) The payoff—keeping glasses shiny—is less ambitious, and less rewarding, but clear enough. The odds of that glass surviving long enough for it to matter, though, are pretty slim. And it's not really worth wondering where dishes go when they die. |
Medientyp | Fernsehen |
Länge | |
Redaktionsbüro | Final Cut |
Spezialeffekte | The Mill New York |
Mix Company | Factory Studios |
Creative Director | Laura Sampedro |
Creative Director | Carlos Alija |
Creative | Cal Al-Jorani |
Creative | Erin Swanson |
Executive Creative Director | Iain Tait |
Executive Creative Director | Tony Davidson |
Agency Executive Producer | Danielle Stewart |
Group Account Director | Nick Owen |
Etatdirektor | Francesca Purvis |
Planungsleiter | Beth Bentley |
Planning Director | Paul Coleman |
Planner | Tom Lloyd |
TV Producer | Genevieve Sheppard |
Assistant TV Producer | Chloe Roseman |
Creative Producer | Monika Andexlinger |
Interactive Producer | Silvan Schreuder |
Produktionsfirma | Riff Raff Films |
Regisseur | Megaforce |
Executive Producer | Matthew Fone |
Herstellungsleiter | Jane Tredget |
Direktor Fotografie | David Ungaro |
Cutter | Joe Guest |
Execuive Post Producer | Gemma Humphries |
Visual Effects Supervisor | Hitesh Patel |
Flame Artist | Gary Driver |
Flame Artist | Andrew Wood |
Visual Effects Producer | Alex Candlish |
Titles, Graphics | George Adams |
Music, Sound | Siren Factory |
Composer | Alex Baranowski |
Produzent | Sian Rogers |
Sound Design | Anthony Moore |
Sound Design | Neil Johnson |
Sound Design | Jon Clarke |
Producer | Rebecca Bell |