AMY THOMPSON Copywriter

Transcription

A
AMY THOMPSON
Copywriter
“Everything is copy.”
-Nora Ephron
I’m just a small town girl who fell down the rabbit hole.
The abridged version:
In a previous life I was a housewife. Followed by working a
variety of jobs - ranging from the boring to the bizarre –
in offices, homeless hostels and as a ‘geriatric au pair,’
to London’s rich and eccentric upper classes.
I have lived on a Scottish island, population 600, and in the
Highlands, in a converted 33-seater bus, with very
rudimentary plumbing. For a month a tent in Lyme Regis
was home.
Now I’m in Cape Town, studying the ‘dark art’ of advertising.
People, I’ve discovered, are endlessly fascinating and
Nora was right, absolutely everything is copy.
Academic Qualifications:
B.A. Degree, Journalism and History
(Rhodes)
B.A Honours, Media & Communication (Cum Laude)
(University of Kwa-Zulu Natal)
1
Client: Beacon Liquorice Allsorts
Medium: Billboard & Ambient
Copywriter: Amy Thompson
Art Director: Stratos Efstathiou
Africa’s first edible, poppable billboard
Idea: What better way to celebrate the playfulness of Allsorts than by marrying
the original play food with the tactile, popping-pleasure of bubblewrap?
Plastic wrapped promoters encourage people to have a pop.
The more daring can scale the movable librarian’s ladder to reach their favourite Allsort.
Other edible, poppable ideas:
Bubble suit
Wallpaper
Interior of taxi roofs
Bus stops
Lift interiors
Park benches
Lamp posts
Jungle gyms
2
Client: Sandisk
Medium: Print – Magazine D.P.S
Art Director: Simone Pelser
SanDisk Media Extension
As an extension of the print ads, consumers in selected electronic stores,
where SanDisk products are sold, would be presented with a special edition
pack of pocket tissues.
The tissue packs would be in one of three designs, reflecting the print ads
and suggesting that if you haven’t chosen SanDisk there may be data-loss and
melodrama to follow.
CLIENT:
JOB DESCRIPTION:
TITLE:
Safarinow.com
Radio 45”
“Smuggler’s Inn”
MVO: (Slow delivery, storyteller tone. Slightly posh accent.)
‘Quaint and brimming with romance.’ That’s how Aunt Marjorie sold
you the Smuggler’s Inn. If by quaint she meant the hallways smelt of
cabbage, she was bang on the money.
SFX: Pots boiling on the stove.
3
Client: Safarinow.com
Medium: Radio 45’
MVO: The unromantic aroma permeates your room. It lingers round your
knickers. The saucy one’s you smuggled along, in case bad weather
drove you indoors. It’s raining now.
But any adult amusements have been curtailed by creepily thin walls.
As you hear the alarmingly regular sounds of your neighbour’s loo, the
words ‘anal’ and ‘leakage’ form uninvited in your mind.
SFX: Rain outside. Water running/ bad plumbing.
M/VO2: (Corporate delivery.)
Rather read reviews from people who’ve actually stayed there.
Book through Safari now dot com, Africa’s largest
accommodation site.
It’s easier than avoiding Aunt Marjorie at future family functions.
CLIENT:
JOB DESCRIPTION:
TITLE:
Safarinow.com
Radio 45”
“Thatch”
CLIENT:
JOB DESCRIPTION:
TITLE:
Safarinow.com
Radio 45”
“Doilies”
MUSIC: Ambient backing track, slightly ominous violin music.
SFX: Crowd sounds of a carnival/festival atmosphere play throughout.
FVO: (Slow dramatic delivery of a storyteller. Slightly philosophical tone.)
‘Breath-taking’, that’s how Kim described the holiday chalets.
MUSIC: Ambient backing music, in the style of Edith Piaf (songs of World
War 1) plays throughout.
She was right.
SFX: Woman sneezing and wheezing. Undertone of insects rustling.
MVO: (Male narrator, slow delivery of a storyteller. Philosophical tone.)
The idyllic Tudor-style retreat that your boss recommended has been
taken over by doilie-crotcheting fundamentalists.
Your weekend mini-break has coincided with the annual Craft Fair.
The town is festooned with an eye-watering array of knitted crafts.
Your hotel is Craft HQ. The lobby is like God’s waiting room – an
endless sea of blue-rinsed perms, accompanied by the clack-clacking
of ill fitting false teeth and knitting needles.
FVO: As you rub your blood-tinged eyes, you suspect it’s the thatch roof –
infested with thousands of microscopic lice, which have now
burrowed their way into the inner depths of your bronchia.
SFX: Woman wheezing loudly.
FVO: You sound like a dog that’s swallowed a squeaky toy. Your husband
tactfully asks if you could breathe less loudly.
You try, but go purple in the process. In between wheezing like a
birthing walrus, you wonder…
who’ll say your eulogy?
SFX: Woman wheezing. Heavy breathing.
M/VO: (Corporate delivery.)
Book through Safari now dot com, Africa’s largest
accommodation site.
It’s far less painful than holiday related asphyxia.
SFX: Knitting needles clacking and lip smacking sounds.
M/VO: (Narrator)
On your way to dinner your wife bumped into her old Home Ec.
Teacher. She mouthed the words ‘Help Me’ as a pair of knitting
needles were thrust into her hand. But like a coward you retreated into
the ‘The Jolly Lumberjack’.
Over a beer, you ponder if trying to curry favour with the boss will be
worth the death of your marriage.
SFX: Busy pub sounds.
M/VO2: (Corporate delivery.)
Book through Safarinow dot com, Africa’s largest
accommodation site.
!
It’s easier than filing for divorce.
4
Client: Honda
Medium: TV - 60’ commercial
Art Director: Christi Watson
PRODUCT:
Honda CR-V 2.0 Comfort
VISUALS:
Commercial starts with small girl dressed
as a ballerina, waiting alone outside ballet
school. The School is closed and she is
obviously the last pupil left.
TITLE:
“Space for the Unexpected”
ART DIRECTOR: Christi Watson
COPYWRITER: Amy Thompson
AUDIO:
Music:
Slow melancholic song. Reference Willie Nelson, ‘You were
always on my mind’.
SFX:
Crickets chirping.
Close up of a middle aged man, the girl’s
father, driving the Honda CRV-2.0 Comfort.
He is abviously late and stressed.
He checks his watch anxiously.
Music:
Slow melancholic song continues
in car.
The father’s car pulls up outside the
ballet school.
Music:
Slow melancholic song continues.
SFX:
Ambient car noise.
SFX:
Car engine.
Sound of car pulling up.
The young girl climbs into the car.
Emphasis on how small and alone she is
relative to the size of the car.
Music:
Melancholic music stops as car
door closes.
SFX:
Car door closing.
PRODUCT:
TITLE:
VISUALS:
AUDIO:
Medium shot of the father looking
harrassed. He turns in his seat and starts
to apologise to his daughter who is sitting
in the backseat.
MVO:
(Middle-aged man, apologetic
tone) I’m so sorry Darling.
The young girl looks down at her fluffy toy,
she refused to look up at her father as
she speaks.
FVO:
(Young girl, melancholic tone)
I really hope Mom doesn’t find out.
[Pause] Darling.
Close up shot of the young girl’s sad
face, looking heartbreakingly cute.
SFX:
Car idling.
The father turns away from the
daughter back to the steering wheel,
his face betrays that he is worried
at the prospect of both his wife and
daughter being mad at him.
SFX:
Car idling.
SFX:
Car idling.
PRODUCT:
VISUALS:
Close up shot of the young girl’s face,
expression has changed from sad and cute
to mischevious.
TITLE:
AUDIO:
Music:
Starts more upbeat music building in
tempo.
SFX:
Car pulling away.
Medium shot of Honda pulling up
and parking outside a Pet Shop/
Farm Stall.
Music:
Upbeat music continues.
SFX:
Car pulling in and parking.
Wide shot inside Pet Shop of the father and
daughter standing in front of tropical fish
tank. The father gestures to a fish, implying
that the daughter might like it as a pet.
Music:
Upbeat music continues, increasing in
tempo.
Close up shot of the daughter shaking her
head refusing the gift of a pet fish.
Music:
Upbeat music continues, increasing
in tempo.
PRODUCT:
VISUALS:
AUDIO:
The father and daughter are in front of a
hamster cage. He looks expectantly at the
hamsters and then back at his daughter.
The daughter shakes her head and refuses
the hamster.
Music:
Medium shot of the father and daughter
in front of a very cute kitten. The father,
enchanted by the kitten, gestures to his
daughter that she might like it.
She refuses.
Music:
Shot of the father and daughter in front
of an adorable puppy. The puppy jumps
up expectantly wagging his tail,
suggesting that he wants to go home
with them.
Music:
Close up shot from above, the little girl
shakes her head and folds her arms.
She does not want the puppy.
Music:
SFX:
Ambient pet shop sounds.
SFX:
TITLE:
SFX1:
SFX2:
Hamster squeak.
SFX1:
SFX2:
Kitten meows.
SFX1:
SFX2:
Puppy woofs.
SFX:
PRODUCT:
VISUALS:
Cut to medium shot of the father sitting in
the front seat of the Honda driving.
He is looking very relieved.
TITLE:
PRODUCT:
AUDIO:
Music:
Uptempo music builds in intensity.
TITLE:
VISUALS:
AUDIO:
Medium shot of the Honda driving away.
Music:
Upbeat song reaches crescendo.
SFX:
Sound of car driving.
SFX:
Car driving away.
HONDA CR-V 2.0
COMFORT
Cut to close up of the little girl sitting
in the backseat of the car.
She is finally looking very happy.
Music:
Uptempo music builds in intensity.
(End shot)
Honda logo.
SFX:
Ambient car sounds.
Title: Honda. The Power of Dreams.
Camera pans right from the close up of
the little girl to reveal a Shetland pony
standing on the folded down seat next
to her.
Music:
Uptempo music reaches crescendo.
Medium shot from above of the top of
the little girl’s head and the rump and tail
of the pony. Camera tilts to reveal extra
boot space.
Music:
Uptempo music reaches crescendo.
Super: Space for the Unexpected.
SFX1: Ambient car sounds.
SFX2: Horse snorting.
SFX:
Ambient car sounds.
Music:
Upbeat song fades away.
!"#$$%&'%
()$*+,)&
To change negative public perception
of The Big Issue and increase sales of
the magazine.
Show that the vendors are proud to
be working to support their families.
They are salespeople and not beggars.
!"#$%&'"()"$*+
Client:
Job Description:
Title:
5
Client: Big Issue
Medium: Radio 50’ & Posters (Lamp post)
Art Directors: Phia le Roux & Helanzi Dreyer
The Big Issue
Radio 50”
“The Fiddle”
SCENE:
Street scene with cars stopped at a red robot. Beggars, street vendors and a
Big Issue Salesman are walking up and down between the cars.
MV/O:
(Male narrator in style of 1950’s TV voice over).
When stopped at a red robot. Try this handy tip to avoid any unwanted
interactions:
SFX:
Traffic sounds, engines idling at a robot. Far off voices talking/shouting to each
other. Footsteps up to the car door.
MV/O:
The minute an unsavoury shadow is cast upon your door, hasten your gaze
downward. Do not look up. Proceed to fiddle with an imaginary item in your
lap. If possible allow a curtain of hair to fall directly into your line of vision. Do
not look up.
You’ll know that the light is green by the irate hooting and gesticulating of the
car behind you. Time to look up.
SFX:
Clock ticking, traffic noises. Hooting.
M/VO2:
(Narration, corporate style, friendly):
The person behind the gaze you’re avoiding would rather
you acknowledged him with a polite, ‘No thanks.’
If he’s a Big Issue Salesman it’s the promise of a, ‘Yes please’ that
gets him out of bed in the morning.
Buy the Big Issue magazine, empower our salespeople.
They are proud to be working.
Go to www dot big issue dot org dot za for more information.
THE BIG
ISSUE
Client:
Job Description:
Title:
The Big Issue
Radio 50”
“Glassy-Eyed Gaze”
Client:
The Big Issue
Job Description: Radio 50”
Title:
“Sing it”
SCENE:
SCENE:
MV/O:
(Male narrator in style of 1950’s TV voice over):
To avoid unwanted exchanges when stationary at a red light, try this handy tip:
MV/O:
(Male narrator in style of 1950’s TV voice over)
To avoid unsolicited contact when stopped at a red robot, try this handy tip:
SFX:
Traffic sounds, engines idling at a robot. Footsteps up to the car door.
SFX:
Traffic sounds, engines idling at a robot. Footsteps up to the car door.
MV/O:
(Narrator):
Should anyone try to attract your attention, feign temporary short-sightedness.
Stare directly ahead of you with a glassy-eyed gaze.
Appear as though you are deep in thought. It may help to imagine yourself as
someone important, like Einstein formulating a theory of relativity.
Continue staring ahead of you with doll-eyed-deadness until the light changes.
Whatever you do, don’t make eye contact.
MV/O:
(Narrator)
Always drive with your windows up. Then should someone wish to make
your acquaintance, through the closed window, pretend that the sun is
shining in your eye and you can’t see them.
SFX:
Clock ticking, traffic noises. Car accelerating.
M/VO2:
(Narration, corporate style, but friendly):
you acknowledged her with a polite, ‘No thanks.’
Casually rest your right elbow on the window frame and use your hand like a
sun-visor to shield the enquiring gaze from your view.
It may also help to turn up the radio and sing along loudly.
If she’s a Big Issue Saleswoman it’s the promise of a, ‘Yes please’
that gets her out of bed in the morning.
Buy The Big Issue magazine, empower our salespeople.
FVO:
La, la, la, la, la (woman singing in tune of Madonna’s ‘Like a Virgin’).
M/VO:
(Narrator)
Fortunately for them, they’ll have moved on by the time you time you hit the
high notes.
SFX:
Clock ticking, traffic noises. Car accelerating.
M/VO2:
(Narration, corporate style, but friendly):
you acknowledged her with a polite, ‘No thanks.’
If she’s a Big Issue Saleswoman it’s the promise of a, ‘Yes please’ that
gets her out of bed in the morning.
Buy the Big Issue magazine, empower our salespeople.
THE BIG
ISSUE
THE BIG
ISSUE
6
Client: Tidy & Co
Medium: Online
Art Director: Phia le Roux
Background:
Tidy & Co. is an oline gifting site. Their
unique selling point is their ‘Gift Finder’
that asks users five questions and
suggests suitable gift options based on
the results.
Concept:
We play detective so you don’t have to.
A
Thank you.
Email: [email protected]
Cell: 082 799 0007

AMY THOMPSON Copywriter

Transcription

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