FILM COMMISSIONS 47
IN THE 1970s, a McCann Er-
ickson TV spot for Coke
wanted to “teach the world to
sing” — and the accompany-
ing tune became the founda-
tion for an international hit
song.
In May 2009, Saatchi &
Saatchi London got 13,000-
plus ordinary folk to break
into song for mass-karaoke
versions of pop classics in Sing-
along, the current TV com-
mercial for T-Mobile, the in-
ternational mobile-phone
operator.
Rock star Pink joined in the
pop chorale, which featured a
number of well-known songs
including The Beatles’ Hey
Jude and Summer Nights from
the musical Grease. And for
this epic shoot to become a
reality, T-Mobile, its agency
Saatchi & Saatchi, media plan-
ner MediaCom and the pro-
duction company Partizan
needed the help of Film Lon-
don, the capital’s film com-
mission.
Russell Curtis, the Partizan
13,000 people breaking into song in Trafalgar Square
producer in charge of Sing-
along, says: “The nature of growing bond between the
our business means that, within commercials community and
RUSSELL
Film London had worked what we were trying to do,”
with Partizan before, on an- Curtis says. Film London also
short periods of time, scripts Film London (formerly known
get tweaked and changes take as the London Film Commis-
CURTIS:
other T-Mobile spot entitled works closely with the UK’s
place. And frequently, [local] sion), which has traditionally
“WE
Dance, which featured 350 Advertising Producers Asso-
people dancing at the city’s ciation (APA) and its ad-pro-
councils don’t move quickly been associated mainly with
enough. We needed the flexi- feature films.
NEEDED THE
busy Liverpool Street train duction company members.
station. The ad, shot in Janu- “We have sponsored APA events
bility that Film London sup- Film London has lobbied
plied.” hard to explain to all the city’s
FLEXIBILITY
ary, quickly became a YouTube and awards, and held master
favourite. But it was a com- classes about what we can do
The commission also co- local authorities why legiti-
ordinated the logistics and ne- mate film-makers, including
THAT FILM
pletely different challenge to for them,” Hayes says. “We
film a similar routine with more are in a position to become
gotiations to shoot the spot commercial producers, should
in Trafalgar Square, one of the be given flexible access to Lon-
LONDON
than 13,000 people in the hec- more proactive, and we are
world’s busiest outdoor tourist don’s iconic locations. “Lon-
attractions. don used to be patchy, bureau-
SUPPLIED”
tic surroundings of Trafalgar developing more direct rela-
Square. Partizan used 24 cam- tions with ad agencies.”
eras, 2,000 microphones and As the London Olympic
“The commercial shows Lon- cratic and not film-friendly giant video screens with the Games of 2012 approaches,
don at its best,” says Film Lon- at all. But there was a recog- karaoke lyrics. In addition, Hayes knows commercials-
don’s film commissioner Sue nition that we had to pull all 300 crew-members filmed and makers will want to film in
Hayes. “It’s a big one, it blows our resources together. The edited the scenes within 48 and around the city’s associ-
you away, it’s very moving, image of London around the hours. Such a feat required ated locations. “Now we are
but it’s also all about partner- world brings visitors here,” friends in the right places. “Film in a position to say, ‘We can
ship.” She is referring to the Hayes adds. London understood exactly get you in there...’,” she adds.a73
SATURDAY 27
TH
JUNE 2009
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