Volkswagen Film Tall Girl by adam&eveDDB London

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Tall Girl

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Industry Cars
Media Film
Market United Kingdom
Agency adam&eveDDB London
Director Chris Palmer
Executive Creative Director Jeremy Craigen
Art Director Feargal Ballance
Copywriter Patrick Mcclelland
Producer Paul Rothwell, Michaela Johnson
Account Supervisor Jonathan Hill, Paul Billingsley
Editor Paul Watts
Released April 2013


Epica Awards 2013
Film Automobiles BRONZE

Credits & Description

Advertiser: VOLKSWAGEN
Category: Cars
Advertising campaign: TALL GIRL
Music: "needle In A Haystack."
Sound Studio: Air Studios And Sandbank
Account Manager: Account Director: Jaimie Jennings
Music: Con Conrad
Art Director: Feargal Ballance
Music: Herbert Magidson
Producer: Michaela Johnson
Account Manager: Naphtali Torrance
Editor: Paul Watts
Director: Chris Palmer
Director Of Photography: Bruno Delbonnel
Account Supervisor: Jonathan Hill
Executive Creative Director: Jeremy Craigen
Agency Producer: Lucinda Kerr
Copywriter: Patrick Mcclelland
Producer: Paul Rothwell
Planner: Rachel Hamburger
Sound Design/Arrangement: Sandbank
Account Supervisor: Paul Billingsley
Editing Company: The Quarry
Post Production: Tom Sparks

Brief Explanation
In this ad we follow a tall woman on a series of dates in her quest to find the perfect partner. The problem is that every man she meets is simply too small for her. Awkward.After five failed dates with five different men, we see her waiting for her next date. He arrives in a Volkswagen up! and our tall woman looks dejected: if he's driving that tiny car, he's probably the shortest man of all, she thinks.Imagine her surprise and delight when the door opens and out steps a strapping 6'3 hunk of a man! She's finally found true love and a suitably tall companion in the most unlikely of places - the Volkswagen up! They drive off happily together in the up!

The performances in VW baby had to be beautifully subtle for the advert to be charming and engaging. There was a lovely layered story to communicate in the script, yet it needed to be done without dialogue.The hero father character needed to convey a huge amount through only the tiniest of facial movements. The viewer needed to understand his level of sleep deprivation, at each stage gently escalating, and tiny moments where the driver feels ever so slightly sorry for himself, without ever turning into frustration. He needed to always be in love with his child, whatever happened. Then finally when he meets the second driver, at his wits end, we needed to feel his empathy for ‘a brother in need’. We had to search very hard for the actor who could achieve all of the above, which was key to making him likeable and engaging. The tendency for most actors was to overplay it or get frustrated with the child, which always felt wrong. Add to this a need for him to look warm and approachable, fitting the brand tone, and it was a very tough casting brief.The baby also needed to give a fantastic performance, something we wanted to achieve without resorting to post production. We needed a fantastically expressive baby, one that could cry and fall asleep on cue, and he needed to do it all on our single studio shoot day. It needed to feel completely natural despite being completely unnatural (in the shoot setting).Finally, the second driver was also key to the piece. In only the briefest moment, we needed to understand that he too was in the similar position as our hero driver, only his position is worse still, having been on the road for longer. So despite everything, our hero could feel empathy for him.All these performances needed to be pitch perfect for the advert to work as well as it could.