HOT WHEELS FOR REAL by Mistress for Hot Wheels

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HOT WHEELS FOR REAL

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Industry Toys
Media Film
Market United States
Agency Mistress
Director Mouse McCoy, Ajamu White
Creative Director Damien Eley, Scott Harris
Designer Ryan Fong, Brian Rigazzi
Producer Ryan Slavin, Kay Lynn Dutcher, Dave Mckay, Lyra Rider
Editor Jeff Tober
Released June 2011

Awards

One Show 2012
One Show Entertainment Events and Installations Merit

Credits & Description

Type of entry: Use of Promo & Activation
Category: Best Use of Experiential Marketing in a Promotional Campaign
Advertiser: MATTEL
Product/Service: HOT WHEELS
Agency: MISTRESS Venice, USA
Advertiser MATTEL
Product HOT WHEELS
Entrant MISTRESS Venice, USA
Type of Entry: Use of Promo & Activation
Category: Best Use of Experiential Marketing in a Promotional Campaign
Title: HOT WHEELS FOR REAL
Advertiser/Client: MATTEL
Product/Service: HOT WHEELS
Entrant Company: MISTRESS Venice, USA
DM/Advertising Agency: MISTRESS Venice, USA
Creative Director: Damien Eley (Mistress)
Creative Director: Scott Harris (Mistress)
Strategist: Christian Jacobsen (Mistress)
Strategist: Jens Stoelken (Mistress)
Design Director: Blake E. Marquis (Mistress)
Designer: Ryan Fong (Mistress)
Designer: Brian Rigazzi (Mistress)
Producer: Kay Lynn Dutcher (Mistress)
Producer: Lyra Rider (Mistress)
Director: Ajamu White (Laissez Faire Presents)
Producer: Dave Mckay (Laissez Faire Presents)
Director: Mouse Mccoy (Bandito Brothers)
Editor: Jeff Tober (Bandito Brothers)
Executive Producer: Jeff Rohrer (Bandito Brothers)
Producer: Ryan Slavin (Bandito Brothers)
VP Marketing: Simon Waldron (Mattel)
VP Design: Felix Holst (Mattel)
Senior Marketing Manager: Heather Miller (Mattel)
Marketing Director: Erin Sullivan (Mattel)
Manager/Digital Media/Social Media: Travis Harding (Mattel)
Describe the brief from the client
The average 8 year-old boy in the US owns 45 Hot Wheels cars. To grow the business, Hot Wheels had to evolve from toys to a more entertainment-focused brand.
The campaign was created around the idea of 'Hot Wheels For Real'.
To punctuate the campaign, and legitimise Hot Wheels in the eyes of an older audience that had grown out of toys, a life-sized version of a toy was built and other media was activated around the event then pushed online through social media to garner a massive new audience for the brand, from which future communication could be targeted.


Describe the creative solution to the brief/objective.

An extensive online media campaign showed teaser content of a secret driver training for a world record jump, based on a real-life version of a Hot Wheels toy.
Live at the Indianapolis 500, Hot Wheels and the 'Yellow Driver' broke the world record for a vehicle jump in front of 300,000 people. The jump was then edited in real-time and dropped into a 30 minute TV show on one of USA's major TV networks and at the end of the show, as the driver was to be revealed, the audience was pushed to Facebook, where his identity was revealed.


Describe the results in as much detail as possible.

The promotion, which played out over 2 months and peaked on May 29, 2011 around the Indy 500, garnered over 1.7bn media impressions, attracted over 40m viewings of the content and brought in over 200,000 new Facebook fans (most of which were from a demographic that had grown out of Hot Wheels).
The campaign earned a world record, created a real team of stunt drivers, attracted new licensed brand partnerships, inspired a new range of Hot Wheels products and was instrumental in attracting one of the world's leading film studios to sign up for a blockbuster Hollywood movie.


By launching the campaign around a live event and activating multiple avenues of media around it the Hot Wheels For Real campaign was able to successfully target and communicate with a new, far broader audience that the brand had before. It helped Hot Wheels be seen as, not a kid’s toy brand, but a brand for boys of ALL ages.