Walmart Film, Case study The Receipt [image] by Saatchi & Saatchi New York

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The Receipt [image]

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Industry Supermarkets
Media Film, Case study
Market United States
Agency Saatchi & Saatchi New York
Chief Creative Officer Javier Campopiano
Executive Creative Director Mike Pierantozzi, Wayne Best
Creative Director Scott Bassen, Michael Craven, Alex Braxton, Brent Shriver
Junior Art Director Derek Peet
Junior Copywriter Thanh Ly
Production Tool Of North America
Released October 2016


Cannes Lions 2017
Promo And Activation Use of Promo: Mediums: Use of Broadcast Bronze Lion

Credits & Description

Title: The Receipt
Agency: Saatchi & Saatchi
Brand: Walmart
Country: USA
Entrant Company: Saatchi & Saatchi, New York
Advertising Agency: Saatchi & Saatchi, New York
Media Agency: Mediavest|Spark, New York / Haworth Marketing + Media, Minneapolis
Pr Agency: Golin , Chicago
Production Company: Tool, Los Angeles / Caviar, Los Angeles / Wondros, Los Angeles
Chief Creative Officer: Javier Campopiano (Saatchi & Saatchi Ny)
Executive Creative Director: Mike Pierantozzi (Saatchi & Saatchi Ny)
Executive Creative Director: Wayne Best (Saatchi & Saatchi Ny)
Head Of Design: Blake Enting (Saatchi & Saatchi Ny)
Creative Director: Michael Craven (Saatchi & Saatchi Ny)
Creative Director: Scott Bassen (Saatchi & Saatchi Ny)
Creative Director: Alex Braxton (Saatchi & Saatchi Ny)
Creative Director: Brent Shriver (Saatchi & Saatchi Ny)
Social Designer: Spencer Larson (Saatchi & Saatchi)
Junior Art Director: Derek Peet (Saatchi & Saatchi Ny)
Junior Copywriter: Thanh Ly (Saatchi & Saatchi Ny)
Chief Strategy Officer: Wanda Pogue (Saatchi & Saatchi Ny)
Evp, Director Of Engagement Strategy: Karen Kraut (Saatchi & Saatchi Ny)
Group Planning Director: Amber Hahn (Saatchi & Saatchi Ny)
Digital Strategist: Sara Murali (Saatchi & Saatchi Ny)
Head Of Production: John Doris (Saatchi & Saatchi Ny)
Executive Producer: Emily Green (Saatchi & Saatchi Ny)
Producer: Danica Rosen (Saatchi & Saatchi Ny)
Producer: Zamile Vilakazi (Saatchi & Saatchi Ny)
Digital Producer: Aliaksandra Shvedava (Saatchi & Saatchi Ny)
Managing Partner: Beth Waxman-Arteta (Saatchi & Saatchi Ny)
Senior Account Director: Angela Brown (Saatchi & Saatchi Ny)
Digital Director: Kate Owens (Saatchi & Saatchi Ny)
Account Supervisor: Marina Recalde (Saatchi & Saatchi Ny)
Account Executive: Jessie Shapiro (Saatchi & Saatchi Ny)
Senior Project Manager: Terea Shaffer (Saatchi & Saatchi Ny)
Project Manager: Natasha Graham (Saatchi & Saatchi Ny)
This was our Cinderella moment. We are a brand known for low prices and everyday items. Yet this was the Oscars, a celebration of creativity and America’s biggest, most glamorous party. We needed to find a way to not just fit in, but stand out, in a way that showed a deep understanding and respect for the world we were entering. After all, the reason we became the official sponsor, was to appeal to a broader audience and begin to change the perceptions of the brand. We needed to go from being just a store, to being part of American pop culture. So we set out to create a campaign that respected the show and it’s viewers, was entertaining, and that turned our everyday shoppers’ stories into something bigger and grander, which is what great filmmaking does.
Walmart’s success was built on the company’s belief that no matter where you live or how much money you make, everyone in America deserves access to affordable, high quality products. As Walmart expanded in size and scale, the company made good on this promise for millions of people. Walmart customers reflect a mirror image of the US population and is considered a staple of everyday life. Despite the value it provides to millions of people every day, Walmart has found itself in the crosshairs of criticism. No matter how untrue that characterization may be given the much improved state of the experience today, negative sentiment remains. If we wanted customers to think about Walmart differently, we needed to take steps to elevate our image in American culture.
See confidential section
We worked with award-winning Hollywood directors Antoine Fuqua, Marc Forster and Seth Rogen & Evan Goldberg to create three one-minute films based on a single Walmart receipt. All they had to do was incorporate the six items into the storyline, and feature the receipt in the opening titles. Then we partnered with them to write, cast, shoot and edit the films.Since we didn’t want the films to have to explain the whole idea, we shot trailers and behind the scenes spots setting up the idea. We did show integrations on The Jimmy Kimmel Show and Good Morning America. On Oscars night, we blurred the line between the event and our films using in-show billboards to introduce each film. Our social media command center engaged in rich conversations on Twitter and Facebook. And in the end, people weren’t just talking about the nominees, they were talking about Walmart’s The Receipt.
Despite the value it provides to millions of Americans every day, Walmart has found itself in the crosshairs of criticism. Our goal was to renew a sense of public pride in Walmart so we set out to disrupt negative perceptions on a cultural level.Through a bold partnership with the Academy Awards, Walmart launched an integrated campaign that leveraged broadcast, PR, social and digital channels, in-store and employee communications that ultimately built on the truth of our brand, elevated the company, and changed the cultural conversation that surrounds us.
Campaign Description:
We wanted to celebrate directors, and the unique perspective they bring to everyday stories. In thinking about the campaign from this perspective, we knew we would need to work with multiple directors to showcase different visions. We decided that three was the right number of directors, and that we should consolidate our media buy to focus on making three 60-second short films versus having shorter units.What intrigued us, was the notion of giving multiple directors the exact same script, and seeing how they would interpret it and tell their story. All we needed was a script, and a way to brand the spots in a natural, filmic way. That’s when we came up with a receipt. It naturally branded the films right up front, and gave the filmmakers something to work from that was confining, but still allowed them to be creative.