24 Knocks The Competition For Six
AFTER Season 5 of 24 recorded the franchise’s highest DVD sales of all time, TEA were asked to make sure that Season 6 went one better.
Using ‘Time as Jack experiences it” as the driving force behind all creative executions, we used digital panels along escalators so that commuters would see Jack running past them, stop and look them in the eye, then charge off like a man possessed. In his wake would be the words “Jack doesn’t have time to keep right.” Another route used coffee cup media with the slogan “If Jack stops for coffee, millions of people die”, emphasising the difference between Jack and Joe Public.
This was as well as revising the pack itself to give it a broader appeal and ‘bookend’ press adverts around TV listings to maintain the theme of time, precious time. An expansive online campaign is the final piece of the puzzle that also includes a highly secretive viral element. We could tell you, but then Jack would have to…
Helping Daywatch See The Light
PICKING straight up from the grand finale delivered by Nightwatch, our hero Anton continues to fight the forces of darkness after finding the secret to restoring life in Moscow after it faced its very own apocalypse.
The UK release of Daywatch, which marks the continuing renaissance in Russian cinema, demanded the new poster built on the existing campaign by injecting a sense of added excitement and playing up the tension between the forces of Light and Darkness.
TEA were once again equal to the task, producing a blinding poster that has not only been chosen for a domestic release of the film, that will also be used in the US market.
Making Sure You Doh-n't Miss It
WHEN THE world’s favourite family made their recent Big Screen debut, TEA were proud to accompany them for the ride by producing The Simpson’s print and outdoor campaign.
Using the iconic key art from the US, we began with teaser posters last summer before starting a 65-advert print campaign with special ‘break-out’ creative in London Lite, London Paper and the Mirror Ticket.
This was as well as producing a wrap that covered the entire IMAX theatre in Waterloo and creative for ticket barriers at London tube and train stations. Mega Bus sides were designed for the Irish market as well as a bus dressed up in yellow with characters in the window to replicate Otto’s school bus.
Other elements of the outdoor campaign included 48-sheets, 96-sheets, golden squares, and various other large format banners that took over Cineworlds in Glasgow, Edinburgh and the Vue West End (where one of the towers was decorated with Bart exposing himself).
TEA also produced all artwork for the premiere, with 12 types of tickets, production notes and 2,500 masks that were handed out to kids in the crowd. To really bring the event to life, behind the ‘yellow carpet’ was a 400-foot long, ten-foot high recreation of Springfield, featuring the likes of Mo’s Bar and Barney’s Bowlarama.
We Ate All The Pies
FOR THE UK release of Waitress, TEA was asked to originate a campaign that helped convey the film’s plot, implicating the love triangle at its heart and the quirky, offbeat personality behind it.
The story follows the life of Jenna, a pregnant, unhappily married waitress in the deep south of America presented with one last chance of happiness.
TEA designed nine different routes, and with the forerunner chosen, implemented a press and outdoor campaign. This was supported by printing 110,000 8-page A6 recipe booklets, giving details of how to bake three of the pies from the film, such as ‘I hate my husband pie’.
Recipes were adapted using the help of the professionals over at the BBC and then distributed to coffee shops across the country and through cinemas by using a life-sized standee.
It's alive...
IN A media first, the entire cross-track advertising space of Tottenham Court Road’s Northern Line was used to create a single giant bespoke advert for the launch of Ben Stiller’s Christmas blockbuster ‘Night at the Museum’.
Produced on behalf of 20th Century Fox, the film’s title was at the centre of the scene, with the rest of the space used as a giant visual storyboard to introduce the myriad characters and beasts that Stiller faces when the museum miraculously comes to life.
This was part of a national campaign that used mega 96-sheets, building wraps in Manchester and Birmingham, bus sides, an extensive six-sheet campaign, lenticular (3-D animated posters) and unique press executions in Radio Times and TV Times. Also included were adverts created specifically for the IMAX release of the film in Glasgow, Birmingham and Manchester to give consumers a taste of what they could expect if they were brave enough to experience the film in 3-D.
TEA are currently working on the DVD release of the film.
The Journey Begins...
TEA have been working with Working Title to produce the teaser creative for the forthcoming sequel to 1997's Bean: The Ultimate Disaster Movie. Expect to see Bean and a feathered friend in a cinema very soon.
THE WORLD’S favourite explorer returned to cinema screens this month with TEA’s digital arm helping to crack the legendary whip.
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Fast Lane
AFTER winning the hotly contested pitch for BURNOUT PARADISE, TEA have created a slick new look for EA Games’ car gaming franchise.
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WHEN 20th Century Fox decided to give their Animation Domination brand a fresh appeal, they turned to TEA for help in creating a new umbrella identity for their key TV titles.
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WHEN Dr Seuss’ latest cinematic offering had its UK release in the shape of Horton Hears A Who, TEA were in charge of all UK theatrical.
TEA designed the press and outdoor campaigns...
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