evidence - tobacco-img.stanford.edu

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Extracts fromEvidencesubmitted to theCommittee fromAdvertisingAgencies

(TB37-40)

Source: http://industrydocuments.library.ucsf.edu/tobacco/docs/jyxn0204

Evidencesubmitted byTB WA SimonsParker Ltd


CREATIVE BRIEF

10,

Client: - Rothmans UK Date : w/c 12/08/96Brand/Product: Marlboro House 1st Review Date :Medium : Press & Posters To Client:

To strongly evoke core Marlboro values (individuality, freedom, real and America) bycontinuation of 'Marlboro Country' campaign .

Why are we advertising?

Who are we talking to?

Primary: 18-24 males, student and .non-student, into making a definitestatement (rock, cult, bikes, cars)

Secondary: Older, established smokers (you're doing the right thing)

Consideration : Lights target smokers (Lights is 'Marlboro, not Reds')

How do we want to change what people think, feel or know ?

We want to engage their aspirations and fantasies - ' I'd like to be there. do that owntom' .

What is the most powerful thing we can say to achieve this? (The proposition .)

Escape to Marlboro Country .

What is the best way of supporting this proposition (facts, emotions, values).

Strongly conjure up Marlboro core values: individuality and freedom and real andAmerica.

Practical Considerations :

Ads must be a continuation of the current 'Marlboro Country' campaign .'Marlboro Country' is as much a state of mind as a particular place . We need tofocus more on contemporary 'on the road'f passing through'f Road Movie' imagesthan 'stuck in the middle of nowhere' images .Ads that make a comment/have an attitude work best .Need for a number of executions with Reds bias ie . Can't stand the heat -harsher, more individual executions .Usual ASA restrictions .20 executions .

Approval : PB: PL3 CB:

Contact : Acc Dir: Acc Mgr: Planner:

Disruption Brief Attached? Yes. . . . . . . .. No.... .. . . .

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OVERVIEW

• Given that we had only four groups, there was quite a lot of diversity across the

sample:

Very media literate, trendy girls and lads in London

'Loaded' lads & Glamour girls in Mancheste r

• However, there was still a very clear theme that in an ideal world, cigarette ads andin particular Marlboro, should not. have packs in .

• Having packs is seen as lazy ; retrograde and boring .

There are still some instances where there is greater permission to show packs

(new brands or variants - Marlboro Mediums) .

Having said this, it is possible to use packs within the Marlboro treatments if

treated subtly - consumers can live with it .

MARLBORO PACK RESEARCH ROTHMANS U K

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PACKS IN CIGARETTE ADVERTISIN G

Cigarette advertising was very much seen as a special case in which it was

particularly negative to display the pack

Modern cigarette ads don't need the pac k

Cigarette packs are such daily paraphanalia that it's boring to show them

Overtly selling is worse as prompt health concern s

it was very clear that since the Benson & Hedges and Silk Cut work over the yearsthat the absence of packs is both well understood and expected .

To not show the pack is seen as 'clever . as there is a reward for understanding the

device and working out the brand (although this may in fact be fairly easy) .

Conversely, showing the pack was seen as not very 'clever':

Showing no thought 4 dulUboring

Old fashioned

Foreign

Uninvolving - see the pack/brand and 'ignore' the rest of the executio n

MARLBORO PACK RESEARCH ROTHMANS UK

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CONSUMER PATTERNS

Tens Packs Report

Regular Buyer Profiles

The only consumer data available within the market is 3 years old and hence, it isperhaps unwise to draw too many solid conclusions from the data as the structure andimportance bf the 10s pack sector has changed Although, the main patterns areunlikely to have dramatically altered and hence, the BIM data from 1994 shouldprovide some insight into the current situation .

What must be highlighted is that the data relates to the regular buyers of 10s packs ofcigarettes . It is likely that a high number of people will participate within the marketon an irregular basis and we can only hypothesize as to the importance of regularbuyers versus irregular buyers in the 10s pack market .

The regular buyers of tens tend to be younger and slightly more down market smokersthan the total market, the key bias is towards the young adult smoker where we see 1in 5 young adult smokers buying a 10s pack regularly and, they account for 43% ofregular I Os packs buyers. In addition, and not surprisingly, the I Os pack buyers tendto be light smokers with 77•/. smoking between 1-12 cigarettes a day . Interestingly,the market is relatively evenly split between the sexes ; if anything there is a male bias .

The relationship between regular buying of tens and fight consumption is notsurprising, peoples primary reason for purchasing a tens pack may be torestrict/control their consumption. In addition, bearing in mind this correlation, thebias towards young adult smokers is understandable as they are generally lightersmokers . However, this bias towards the young adult smoker is quite pronounced .This bias probably explains, in part, the reason why the l Os market is skewed towardspremium brands . Equally, it may provide some indication of why the trading pattern ofI Os packs is more skewed towards the Independent Trade sectors .

The higher penetration of regular 10s buying amongst young adult smokers may be afunction of the greater acceptability of 10s packs by this age group of smokers and thefact that they are more image conscious . As the lay down prices of cigarettes haveincreased, younger adult smokers may.have down traded to a 10s pack of a premiumbrand or, chosen to buy a premium l Os pack when they entered the market, rather thanbuying into a cheaper 20s pack of an economy brand .

Whilst the core 10s market (3 years ago) is orientated towards young adult smokersthe role of older smokers is still important to the 10s pack market . Lay down pricesmay also be a key influence to an older/down market smoker, however the reducingsocial acceptability of smoking and greater limitations on public smoking may also bekey influences (this is likely to be true for the young adult smoker as well) .

if la ; down price has been a driving factor behind the growth of I Os pack purchasingthen we can expect this market to continue to grow for this reason alone . Availabilityof key brands in this format will become increasingly important, particularly if thebrand is geared towards the young adult smoker market .

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TOPLINE CONCLUSION S

1 . Understanding the u35s lifestyle and attitudes is central to thisproject. Young smokers choices are driven by:

Smoking as part of a social, out of home lifestylePeer group conformityGeneral attraction to image brands and trendinessSelf-indulgence - need for taste

Respondents held no conception of an `American' sector of themarket nor did they ever consider country of origi n

Existing American brands (e .g. Camel, Lucky Strike, Winston),American imagery and American taste have low spontaneous appea l

3 . While Marlboro Reds are American, male, outdoors in image,Marlboro Lights are not perceived as overtly American and theyoccupy a unique positioning in the market

Lights image is: International, young, trendy, his 'n hers, city-oriente d

4. The success of Marlboro Lights derives from Its being :

THE ASPIRATIONAL LIFESTYLE BRAND- "cool", everybody's smoking it in bars & clubs image- The Diet Coke of cigarettes

HEAVY PROMOTION & TARGETING of 3 core groups- Students, Young working, City career types

COWBOY HERITAGE ADDS VALUE TO ME NTRENDIEST, CLASSIEST PACK ADDS VALUE TO WOME N

PERCEIVED SUPERIOR LIGHTS TAST E- More flavour for much the same tar

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Initial reactions to the concept of an American blend were luke-warm whether new brand or range extension - respondents did notfeel there was a gap or a need

Winston Lites was perceived as a new brand and American Import,this was not welcomed. Pack communication was of a heavy, malebrand closer to Camel Original and Marlboro Reds than Light s

7. There was no gap for either range extension when perceived asbrand (rather than flavour blend) levering off American identification/ symbols / or American youth

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TOPLINE CONCLUSIONS cont'd

8. The opportunity is about more taste in lights P. inagd+andaddressing B&H / Silk Cut weaknesses among u35s, not aboutintroducing another American name to rival Marlboro lights

9. The two test routes were roughly equal in appeal for totally differentreasons - and B&H remained more male, with Silk Cut more femal e

Of the two brands, Silk Cut is better able to attack the MarlboroLights- position of a sp"Tfatibballifes yle brand.:,;it has potential toovercome its weak taste image and create some man appeal withouteroding the parent brand image . It is worth further discussion .

L-1-

322057232


(.J/'t )Marlboro Image Research '98

6. Overview and Conclusion s

Since last year there have been few significant changes in termsof the image and perceptions of cigarette brands amongstmainstream and style conscious individuals aged between 18-30 .However, there are some shifts in perceptions which aredocumented in this report.

The Marlboro family's strong and att aliT g deia ;al remain

for Young txovle, particularly those who are style conscious andlooking for something a bit out of the ordinary. Moreover, since

last year, these credentials are infiltrating more into the

mainstream, via Marlboro Lights .

The British brand cigarettes continue to lose saliency (albeit at aslow pace) amongst young people, particularly the styleconscious, but also among mainstream (more marked than lastyear) .

Silk Cut is still a natural choice for smokers looking to cut downor for a weaker flavour. However, Marlboro Lights are becominga positive choice, increasingly becoming an 'accepted' cigarette bymost, seen everywhere, not just being smoked by the styl e

conscious. It provides a fuller flavour to the weaker Silk Cut,with only a marginal compromise in tar (6mg vs . 5mg) .

The imagery surrounding Silk Cut remains unaspirational for the

style conscious, and also more mainstream : it is female, glossy,

chic and glamorous . User imagery has become the very young(starter cigarette) and middle aged (part time, health freak, not areal smoker) . They are still perceived as very 80's, old hat,boring, bland and lacking in stylish cues . The box, however, isperceived as classy and almost classic in design .

B&H, Regal, -Embassy and Kensitas Club have much in common .Their appeal continues to lie in their British (Scottish), down to

earth and unpretentious personalities . However, the connection

with British youth culture (music, clubs, drugs) is beginning towane and the rebellious, hedonistic and irreverent edge to theirpersonality was far less prominent this year . This may have astrong link with the general wane in clubbing amongst youngpeople, as bar culture seems to be increasingly popular .

The most prominent imagery for these brands is male, foreveryone, down to earth, 'lads', young through old, unpretentious.

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Marlboro Image Research 98

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6. Overview and Conclusions

Since last year there have been few significant changes in terms

of the image and perceptions of cigarette brands amongstmainstream and style conscious individuals aged between 18-30.However, there are some shifts in perceptions which aredocumented in this report .

The Marlboro family's strong and appealing credentials remainfor young people, particularly those who are style conscious andlooking for something a bit out of the ordinary . Moreover, sincelast year, these credentials are infiltrating more into th emainstream, via Marlboro Lights .

The British brand cigarettes continue to lose saliency (albeit at aslow pace) amongst young people, particularly the styleconscious, but also among mainstream (more marked than lastyear) .

Silk Cut is still a natural choice for smokers looking to cut downor for a weaker flavour . However, Marlboro Lights are becominga positive choice, increasingly becoming an 'accepted' cigarette bymost, seen everywhere, not just being smoked by the styl econscious. It provides a fuller flavour to the weaker Silk Cut,with only a marginal compromise in tar (6mg vs . 5mg) .

The imagery surrounding Silk Cut remains unaspirational for thestyle conscious, and also more mainstream: it is female, glossy,chic and glamorous . User imagery has become the very young(starter cigarette) and middle aged (part time, health freak, not areal smoker) . They are still perceived as very 80's, old hat .boring, bland and lacking in stylish cues . The box, however, isperceived as classy and almost classic in design .

B&H, Regal, Embassy and Kensitas Club have much in common.Their appeal continues to lie in their British (Scottish), down toearth and unpretentious personalities . However, the connectionwith British youth culture (music, clubs, drugs) is beginning towane and the rebellious, hedonistic and irreverent edge to theirpersonality was far less prominent this year . This may have astrong link with the general wane in clubbing amongst youngpeople, as bar culture seems to be increasingly popular .

The most prominent imagery for these brands is male, foreveryone, down to earth,'lads', young through old, unpretentious .

9 20'.-Research

322057234


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• In the first year of tracking, Royals 20s recorded prompted brand awarenessamong young adult smokers of 71% . It is possible that some awareness may bethe result of respondents confusing the 20s pack with the more familiar 24s packHowever, even taking this into account, this compars favourably with Sovereignwhich achieved 54% awareness in the first year after launch .

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• In line with their relative under-use of LTKS and ultra low tar brands, these brandsare at the bottom of the prompted awareness list among young adult smokers,although the figures are still genially higher than for the smoking population as awhole. This reinforces the fact that young adult smokers are actively choosing notto smoke 'brands from these sectors, even though they know about them Themarketing issue is therefore not one of improving awareness, but of increasing theappeal of these brands to young adult smokers.

Advertisine awareness

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As with brand awareness, young adult smokers are more widely aware of cigaretteadvertising than smokers in general . The reasons for .this are likely to be two-fold :

• As discussed above, media consumption is generally higher for younger adults thanfor older adults . Young adult smokers are therefore likely to have been exposed tomore advertising as a natural result of their higher media consumption .

• Many of the heaviest cigarette advertisers (for example Marlboro, B&H, Silk Cut)place advertising in male style press publications which have a younger readershipprofile . This allows tighter targeting of both the audience and the message. A keyrecent examples of this is the Embassy Lights executions in the male style presswhich are much harder hitting than the more generic Embassy work seen in morebroadcast arenas .

The ranking of brands by spontaneous advertising awareness is broadly similarbetween all smokers and young adult smokers . The Benson & Hedges and Silk Cutfamilies are clear leaders, followed by Marlboro, and these are the only three brandsamong young adult smokers to achieve more than 10% spontaneous advertisingawareness . Many others achieve only a base level of less than 5% among young adult

if smokers .

Marlboro is the only family to record a steady increase in the level of spontaneousadvertising awareness and this is a testament to the effectiveness of a constantpresence and theme over recent years, as well as relevance to its target market .

The other notable increase is for L&B, for which spontaneous advertising awarenessincreased from 1% in 1996 to 6% in 1997 . Again, this will be the result of the heavyATL support the brand has received, particularly since the introduction of the currentimage building campaign .

In terms of prompted advertising awareness, B&H SF and Silk Cut KS in particularhave recorded heavy falls among young adult smokers. For B&H, the decline appears

322057235


One of the key drivers of young adult smokers which has not changed is the (claimed)single minded pursuit of sexual relations . The places they go and the things they doare inextricably linked to this aim . . This has particular relevance to the brands theyadopt .

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Brand s

Like all young adults, young adult smokers are very brand aware . There is a generalacceptance that the right brands confer status upon the owner, but- there is also theever present fear of being seen with the wrong brand. Above all, there was a rejectionof the notion that there is a single right look - they are tolerant of a range of looks andstyles within a loosely defined acceptable boundary.

In general, young adult smokers are looking for big brands - Nice, Adidas, Tango,-Bud, Marlboro, B&IL Again it is important to remember that most young adultsmokers are mainstream individuals with quite ordinary tastes . They want brands forcredibility - for many, to have a quirky brand is almost as uncomfortable as having nobrand because it sets them apart from the gang rather than making them a part of it .

For many young adult smokers, the choice of brands ('indeed, the choice whether tohave a brand at all) depends upon circumstances :

"Armani shirt for the club ... M&S shirt for work":

The full-time branded life is not a reality for most . This is partly that they cannotafford this approach, and partly the need to fit into different environments - art Armanishirt at work would be just as out of place as an M&S shirt in a club . It is clear thatthe underlying desire is to be individual, but still conform to their peer group norm .

Many of the items that young adult smokers would place in a time capsule to epitomisethe 1990s are reasonably stable - beer, cigarettes, computer games, music and mobilecommunications . It is interesting, however, . that cigarettes ('including Marlborospecifically) appear for a different reason in 1998 . This is not just that they epitomiseenjoyment, but that they may well be illegal in the future .

Goals

The goals of young adult smokers are a combination of the desire fo . advancement,and the desire to avoid responsibility . As might be expected from their black view ofthe future, the goals are not the "fly to the moon" variety, but are realistic and modest .On a positive note, young adult smokers want increased resources, greater status, selfconfidence and a chance to consolidate their views and values into an identity . Morenegatively, they want to avoid responsibility, postpone decisions, stay single and stayout of the rat race .

1 s

322057236


Evidence

submitted by

CDP

322057244


MEMORANDU M

To Bob Deegan, Rupert Pyrah

cc Simon North, Andrew Serednyj

Fran Mandy

DoE. 16th April 1996

Subl.a B&H Special Filter

NMwork numbw

PART Or JENISU WO4LOWID E

The ropline findings from research into the 'Gold' campaign are as follows :

People don't like the campaign as the images are inconsistent with their imageof B&H .

For them B&H is still classy, aspirational, special . 'Gold' teaser poster is theonly execution that matches these expectations of the brand .

Most of the other executions are disliked for being incomprehensible,unenjoyable and uninvolving.

It would appear that the surreal campaign did the job for them, although the researchdidn't explore this in any great detail .

Creatively, we believe we now have 2 options :

1 . A surreal campaign for the 1990's . Simple, beautiful images reflecting theaspirational qualities of B&H .

2 . Taking the current core idea of the 'allure of gold' whereby the gold is the packrather than a gold object.

A brief for the above will be with the creative department this morning . Any new workwill be researched by Gallaher, given the reaction to the current campaign and thedesire to get the advertising right assuming we only have 18 months (max) before apermanent ban .

In the meantime, Phil wants us to review the Special Filter media plan, and come backwith a recommendation . We therefore need to consider the following :

POSTERSReduce the number of bursts to 2 (from 3) .

Gratis IILook at deferring the July poster burst until last 2 weeks of August for Gratis H .By including the regional upweight (seaside towns), is 3000 sites, possible ?

Look at deferring the October burst until Nov/Dec . for the 'revised Gold' campaign.Is 3000 sites possible ?

NATIONAL PRESSLook at deferring the July national press to last 2 weeks August to coincide with GratisII poster .

322057245


YMSPGiven the Formula 1 sponsorship, I believe we have already rationalised where possible .Therefore, the onus is on us (the account team) to recommend an existing executionie . '3D Glasses' to meet the commitments in July/Aug/Sept . A bridging ad may berequired in Oct. before the 'revised' campaign kicks off.

Miscellaneous & CharityOnce again, the onus is on the account team to recommend existing subjects to fulfilthese commitments .

The timing on going back with recommendations/revised schedule is not finalised yet .However, the plan is for the team (Client/Agency) to take Nigel through the researchfindings, and new work .

Phil wants us to meet in advance of this to talk media and creative . I hope to confirmthe timing by the end of today .

Any questions, please give me a call .

Many thank s

Mandy

322057246


Chp

Benson & Hedge sThe Impact Of An Advertising Ba n

We starting looking at this question by seeing whether we could arrive at a calculation,that would indicate the likely rate of decay of B&H advertising, post ban . In fact this isone of those questions that you either answer in a very complex way or very simply .The complex way is to examine historical tracking information, with the advantage ofsome advertising gaps, and calculate how recall falls, over time . Our trackinginformation and advertising history, doesn't really allow us the opportunity to do this .This brings us to the simple answer . What you can do is merely apply a standardadvertising decay factor. Many advertising tracking studies - including the one I workedon for Imperial - assume that, on average, you keep 95% of your awareness, from onemonth to the other. If you start with spontaneous awareness of 100%, then stopadvertising, you should have 95% awareness in the following month and then 90 .25%,then 85 .74%, then 81 .45%, then 77 .38%, etc, etc.

In the case of the proposed cigarette advertising ban, even this simple methodology isdifficult to work with . This is because the situation we are planning for has noprecedent . The standard 5% decay rate is used in situations where a brand is notadvertising but the other brands in category continue . The situation we are trying toplan for, where the whole category stops advertising, is one that no theory has yet hadto cope with .

Leaving the search for formulas to one side, the exercise of thinking post advertisingban, has still been very useful for us . It has allowed us to develop hypothesises for howB&H might fair in the future and role that advertising has historically played for thebrand . Within this I think we can use the data we have to back up our views with somefigures, although as we go into these uncharted waters, one has to accept that hard andfast calculations are always going to be impossible .

Hypothesis : B&H Post Advertising

Due to its consistency as an advertiser, the quality of some of its historical advertisingand the size of the brand, we would expect B&H advertising to be effectively aroundfor longer than that of our competitors . In the immediate term, post ban, this might beseen as giving B&H an advantage over the competition .

However, our view is that this comparison is misleading . This is because due to thishistory, B&H is more reliant on advertising, to support its sales, than the other brands .The loss of advertising will therefore be harder for B&H to take, in the long run .

In the medium to long term, the better established Focus scheme of Embassy/Regal will .give these brands more protection from the ravages of price competition . These brandsalso have the advantage of having brand images that more easily fit with collectionschemes . Gratis has done many good things for B&H but it has also caused somesmokers to lower their overall opinion of the brand.

After an advertising ban therefore all premium brands will quickly be exposed tooppressive price competition. B&H will need the protection of advertising based,positive image attributes for as long as possible while it grows Gratis and hopefullystarts to feel the image benefits of Formula One sponsorship .

322057247


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MEMORANDU M

David Greaves, Sam Jiggins

Tony Malcolm, Simon North

Mandy

18th April 1996

B&H Special Filter

This is to confirm that we (B&H account team) have asked Noel [ come up with someimplicit branding options for the Jordan Team Formula 1 cars for the French GrandPrix. The reason being that all cigarette branding must be removed to comply withGovernment regulations.

We have supplied Noel with 3 shots of the B&H car which have Jordan's suggestionsre: alternative branding on the wing, nose and behind the driver's head . Gallaher thinkthese are very weak, hence why we have been asked to come up with some alternativeideas.

We would like to go back to client with our suggestions on Monday .

I trust this is OK. Any problems/questions, please give me a call.

Many thanks

Mandy

322057248


To

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MEMORANDU M

Barry Jenne r

Simon North

22/04/96

F1 Car Design

Barry,

CD P

First of all can I thank you for a really quite superb Marketing Conference last week.The quality of the hotel was, as ever, magnificent, the food tremendous and the qualityof the debate very stimulating. Both Andrew and I, certainly felt that we had achieved agreat deal in a comparatively short period of time.

You will remember that we briefly discussed the B & H Jordan (unbranded) colourscheme over lunch on Wednesday . Please find enclosed a suggestion from our F1'friendly' creative team.

As you will see we have had a couple of thoughts :

1) We feel that if we can legally say the words 'Special FI' then we couldutilise the area behind the drivers head - as you see - to attempt to get a little closer tomore 'overtly' implying the brand on the car . - Do you think we could get this past thevarious legal bodies? If Rothmans can get away with 'Racing' in the brand type face, Ithink we may have a case !

2) We wonder if you could slightly corrupt the Jordan Logo to include a large'ampersand?' (- I think that this would be sailing very close to the wind) . Our reasoningfor suggesting it, is that the ampersand is not actually part of your logo, though if itwere to appear, I believe people would recognise it as being so .

As I say a couple of, if you life, off the wall suggestions .

I will call later to discuss .

Many thanks again.

Yours sincerely ,

Simon North

322057249


MEMORANDU M

To

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Ben Langdon

fyi

F,o,. - Mark Lewis

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ww .m numbw

7 May 1996

Project M Trial A d

The attached ad is a trial generating ad for the launch of Hamlet Extra Mild .

The idea is to trick Castella Classic smokers into applying for a free pack under thebelief that they will receive Classic back .

In fact, they will receive a pack of Hamlet Extra Mild and Gallaher will have capturedtheir name for their database:

Stepping close to the legal rulings, this technique has proven to be very successful forGallaher recently when they have run the attached two ads to generate trial for `King 6'and 'Sobranie' respectively .

With this clarification, can I please ask you to sign the ad .

r

322057250


MEMORANDU M

T. David Greaves

Simon North

Fr

From Mart Harriso n

subj.a

Ndw.rk numbw

6 .11 .96

Hamlet Poster

Dear David,

/ I

CEXIANAINI M

Further to our conversation yesterday, below is an explanation of the Hamlet Client'sview on the various poster concepts that we have been presenting over the last twoweeks, which has culminated in them wanting to run Photo Finish in January .

As you are aware, at our last meeting with Hamlet on Friday 25th-October, wepresented Bungee jumper as our only poster concept, having agreed that Slaphead was apress execution- rather than being suitable for posters .

The difficulty with bungee Jumper from the client's point of view was that if the publicfollowed through the logic of the execution, they would assume that a bungee jumperlanding in concrete would most likely result in fatality . This as you can imagine issomething of a taboo area with a tobacco manufacturer, and whilst they could thereforeappreciate the fact that it could be considered a Hamlet Moment, its connotations weretoo grave if anyone had made the mental leap .

This left us with Photo Finish as the only concept which the client was happy with,although they, like Adrian, didn't think it was the best we could do . With the postingdare looming, and with Adrian not particularly happy with Photo Finish, we bought theagency another week to try to beat Photo Finish .

Yesterday, because we had had Direct Line blown -out by Direct Line (didn't want to beassociated with tobacco/didn't want to see their car crashing), once again we went downwith one poster execution (Invisible Man) to beat Photo Finish . Again, the concept wason brief in that it faithfully communicated a Hamlet Moment, but they felt that, becausethere was no facial expression (a look of resignation by the smoker), it was impossiblefor the concept to fully portray what the subject (i .e. the Invisible man) was reallyfeeling. Without this element, the ad was felt to fall short of the necessary portrayal ofthe true emotion of that moment, thereby reconciling the idea to be merely anobservation on a twist of fate . We argued that once consumers had recognised that itwas the invisible Man, they would draw the necessary conclusion that this was indeed aHamlet Moment as far as the Invisible Man was concerned . Where Photo Finish beatthis was in the fact that the jockey could actually portray this, rather than relying on theconsumer to make the link .

Unfortunately, time has run out on us because we still need to be up on January 1 . Wetherefore had no alternative but to take the most appropriate execution that wasavailable to us at the time .

The good news is that, on the other work, Literary Review is being re-presentedinternally to try to get "fuck" through, we are contiauingto speak to Oasis'

322057251


Z Imanagement to see if they will do the ad, and Slaphead is going to pre-production toappear in the Style magazines in January .

It's always disappointing when we are not able to sell the work that we think shouldrun, but there are two more poster bursts next year (Feb . and Aug.), the cinema ad, atleast one further style press insertion, and a number of tactical opportunities, and theseare real opportunities to produce some absolute belters .

Please thank everyone for their contributions. We should look forward now toproducing a really good poster for Photo Finish and start work on the brief forFebruary.

322057252


MEMORANDU M

TO David Greaves, Dave Weygang

a Neil Kaas

{r Matt Harrison, Simon North

From Richard Thoma s

o,,, 27.11 .96

s„y Hamlet - 1997 Activity

Hamlet Planned Activity for 1997 is :

Budget 1997: £3,180 million (inc. media & production)

Cinema: - scheduled to run Feb 1 onwards - 1 execution.

Posters : - scheduled to run in 2 week bursts-- first two weeks Jan- second two weeks Feb- two weeks in . August

PART Or DENTSU WOGIDWID C

Young Men's Style Press : - scheduled to run in March & May publications (onthe shelves in month prior - Feb . & April) .

Tactical: - not scheduled to run, nor any budget given . But Gallaher historicallyare prepared to find extra monies for tactical ads as long as costs arekept to a minimum .

Notes :

They tend to find more monies during the year as the costs for other projects come inand hopefully budget costs for these are over the top . We are the likely recipients of anyextra money, so we may get another press ad away later in the year .

This activity schedule is very much subject to any change of government and thereforethe possibility of a ban . If this occurs the reaction from the Client is unpredictable, butwe would hope for more money in order to get away as much advertising as possibleprior to the ban .

Any questions please give me a bell ,

kind regards ,

Richard

322057253


~- lB & H Brief y )2 CA

• What do we want this work to achieve ?Historically B&H has always had a cool, classy but somewhat distant image . This helped to push it away from 'people when price really started to become an issue in the early nineties . Executionally we want to move thecampaign along a more humorous, warm and quintessential British direction, which tries to move the brandcloser to people . Very much in the vein of executions such as Weighing Scales, Trawler and Pond . These aresort of surreal slices of life, the quirkiness coming from the juxtaposition of the Big Pack and everyday life .• Who should the work speak to and how do they currently view the brand ?Primarily we are talking to existing B&H smokers, who are 20-45, mass market with a male bias . Theycurrently see smoking B&H as slightly indulgent because they know it is now considerably more expensiv ethan other brands. What helps to keep them loyal is an irrational belief that in some way B&H is better tha nother brands. This basically comes down to image. The B&H image is about classy aspiration . Historically thishas been built around one core icon - the Gold Pack . This has been supported by great advertising tha tmanages to glorify the pack, in imaginative, clever and witty ways. At times, however, this image has been to orarefied and too distant from peoples' real lives . This is what the Big Pack campaign needs to address in 1997 .B&H is the biggest selling brand in the UK and needs to gain more of the kudos which comes from being th epeoples' favourite.• What is the single minded proposition ?

Benson & Hedges - Britain's favourite cigarette

• Are there any mandatory inclusions. legal restrictions . 'Sacred Cows' . other relevant comments ?To get the advertising as right as possible we should try to ensure that all executions carry certain elements .They must feature an interplay between the Big Pack and people . This is what people like about the campaignbecause they put themselves into the position of the people who have come across this huge pack of Benso nand Hedges and imagine what they are thinking . This is one of the elements that adds to the wit and style ofthe campaign and should be embellished further . Likewise, the fact that the advertising idea is very surreal bu tthe executions are very real, must be retained as an integral part of the campaign . This is again a feature thatconsumers appreciate and it adds to the witty, intriguing personality of the brand but also brings it closer t opeople - a slice of real life, with the pack inhabiting the smokers world . Remember this campaign has it sorigins in a very simple truth, that smokers of B&H, when they put their pack on the pub table, will alwayshave it noticed by their friends. It is their badge and all we are trying to do is celebrate it .

Executions must follow the ASA cigarette code . Only ASA approved concepts can be presented to client.

The next burst of poster activity is scheduled for 1-15 June . 'Security Lighting' and 'Carousel' (once resolved )are possible subjects for this time - the latter being particularly pertinent to the Summer. Although these couldrun later in the year . We would like to maintain the momentum and present the best 5 new concepts at the en d

of March .

Thought should also be given to style press specific concepts as Gallaher are keen to develop a B& H

conversation with this target . Therefore scenarios and people (as young as we can push them with the ASA) t oappeal to 20-25 year olds should be considered . The requirement is 3 new style press concepts.

Date Signature Date Signature

Senior Acc Dir orDIC's

Creative Di r

Planning Head of Ar t

To Be Completed By Acc Man/P lanni n

DATEBrief To Creative Department 20/02/97

Creative Director Revie w

Team Review

Client Presentation

To de Completed By C .S .D .

Date Received

Traffic Controller onthis job i sAllocated Creative

Teams/s

Signature DateTimings Approved By

322057254


SoCREATIVE BRIE F

clam, Japan Tobacco

Brad Corporate Re-assurance

M.dic type TV

Actoan,T.om Nori Shutto

Do l. April 17,1997

PART OF DLNTSU WORLDWID E

Backg or and

Nowadays smoking a cigarette comes with a stigma .

During the last 20 years smoking has gone from being seen as very, very cool (James Dean) to being dirty an dalmost criminal (Dennis Hopper and the 'Smokers' in Kevin Costner's Waterworld) .

In restaurants all over the globe smokers are segregated and made to sit near to the toilets . Most airlines nowhave small cramped smoking sections at the back of their planes - if they allow you to smoke at all . Officeworkers across the World are forced to stand outside in the freezing cold and rain enjoying a five minut esmoke break . Articles are written in magazines in hundreds of different languages when (for instance) afashion shoot shows Kate Moss with a cigarette in her mouth . In California now, ski resorts have signs u pasking you not to smoke on chair lifts - "For fear of fouling the air" !

The smoker is under siege

Aim

Japan Tobacco wants to make a statement showing their support for smokers . They want to communicate toboth smokers and non smokers alike showing that if sense is allowed to prevail life will be the better fo reveryone .

Target

They want to communicate their message to smokers and non smokers of all ages .

• Those who already smoke, and want to stop being treated with contempt by non smokers, will feel positiv etowards the company

• Those who don't smoke may be a little more understanding to those that do .

Proposition

Smoking can be a delight for everyone if it is done righ t

Substantiatio n

Let us not forget why people smoke - they enjoy it! They want to smoke! Even with the present anti-smokin gmovement they make a disission to smoke .

• If a smoke is considerate to a non smoker about when, how and where he smokes the non smoker will b ehappy• If a non smoker is considerate to a smoker about when, how and where he allows him to smoke th esmoker will be happy

Mandatory

The Client has stated that the word 'Delight' must feature prominently in the ad .

322057255


NEW CREATIVE WORK BRIE Fcl.m Gallaher

Brand Mayfair

M.dio Type Press

AcwuntT.om Douglas/North/Serednyj

Dot. 28th April 1997

Job No GAL

PART OF DFNTSU WOQIDWID !

BackgroundMayfair is one of two cheap cigarette brands in Gallaher's portfolio, the other being Sovereign . The brand onlyreceives tactical advertising support each year majoring on price after a budget tax increase . Our ad lastNovember, `£2 .39 . It's not a taxing decision' helped to boost sales after the budget tax increase .

In the event that Labour win the election, there will almost certainly be a rnini- budget in June, that is almos tcertain to hit cigarettes very hard .

• What do we want this work to achieve ?We need to inform people that Mayfair represents exceptional value for money . If we do our job properl ythen Mayfair should be able to attract more smokers in the post budget period which is when people aremost aware of the costs of their smoking .

• Who should the work speak to and how do they currently view the brand ?The brand has a bias towards female smokers . It is strongly skewed to C2DE's and its core age group are25-34 year olds .

• What is the single minded proposition ?Post budget Mayfair offers even better value for mone y

• What is the substantiation for this proposition ?

Mayfair King Size and Mayfair Lights will remain at £2 .55 no matter what happens in the June budget .

Arc there any mandatory inclusions, legal restrictions. 'Sacred Cows' . other relevant comments ?

Feature both 20s packs with £2 .55 on pack flash .We also need to mention that they're 'also available in 10's 'Legal copy 'Offer only applies to packs priced £2 .55' .Usual ASA guidelines

Date Signature Date SignatureSenior Acc Dir o rDIC's

Creative Di r

Planning Creative Dir

* ALL SIGNATURES MUST BE COMPLETED •BEFORE CREATIVES ARE BRIEFED

322057256


CREATIVE AMENDMENTFORM

cu.m Gallaher

e.ond Benson and Hedges

Job rd. Busker

toe. 22nd May 1997

Traffic Shelley

"'APART OF OINTSU WORLDWID E

Date of Last Client 21 .05 .97 Amends Required By: ASA PPresentation : (for client pres . )Copywriter. Paul Art Director. Pau l

Client Name: Elaine O'Connell Revisions To Be M DouglasBriefed B :

This work rejected: n/a This work is approved subject to comments below .

Comments

The client was advised that the original test shot was nowhere to be found, hence we had 3 new 'Busker' shots .One almost a replica of the original, and two of a different composition but still identifiable as Covent Garden .

The client preferred the shot closest to the original but emphatically believes the original is superior fo rfollowing reasons :

more natural/slice of life interaction between tourist and pac kmore cosmopolitan feelstronger Summer cues - brighter, lighter, more colourful sho t

More importantly, the new shot is unacceptable from a legal point of view because the royal crest and legen dare partially obscured .

What is now wanted:

The client is adamant that she wants the shot to mirror the original, primarily because it researched so wel lagainst the younger style press target, and secondarily she has loved it and lived with it for a year . The option savailable to us are :

1) locate the test shot - an impossibilry thus fa r

2) re-shoot in Covent Garden at same location, same composition, similar wardrobe, props etc ?

We need to agree on the best option and action it ASAP as we have already missed numerous copy dates .

Air Date: Press Date. Budget £:

Signature DateSenior Acc Dir orDI CPlannin g

Creative Director/s

Given to Creative Services

ControllerFirst Internal Revie w

Team Review

Client Presentation ASAP

Timing Approved byCreative Services Director

322057257


C- J-'; (

people - a slice of real life, with the pack inhabiting the smokers world . Remember this campaign has itsorigins in a very simple truth, that smokers of B&H, when they put their pack on the pub table, will alwayshave it noticed by their friends . It is their badge and all we are trying to do is celebrate it.

Executions must follow the ASA cigarette code . Only . ASA approved concepts can be presented to client .

The next burst of poster activity is scheduled for August .

Thought should also be given to style press specific concepts as Gallaher are keen to develop a B&Hconversation with this target . Therefore scenarios and people (as young as we can push them with the ASA) toappeal to 20-25 year olds should be considered .

Date Signature Date Signature

Senior Acc Dir o r

DIC's

Creative Di r

Planning Head of Art

To Be Completed By Acc Man/Plannin

.Brief To Creative Department 09106/97

Creative Director Review

Team Review

Client Presentation w/c16/6/9 7

gDATE

To Be Completed By C .S .D .

Date Received

Traffic Controller o nthis 'ob isAllocated Creative

Teams/sSignature Date

Timings Approved By

322057258


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322057259


evidence - tobacco-img.stanford.edu

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