|Title||NEW ZEALAND POLICE|
|Brand||NEW ZEALAND POLICE|
|Product / Service||NEW ZEALAND POLICE|
|Category||A01. Cinema & Theatrical: Fiction & Non-Fiction|
|Entrant||OGILVY NEW ZEALAND Auckland, NEW ZEALAND|
|Idea Creation||OGILVY NEW ZEALAND Auckland, NEW ZEALAND|
|Production||OGILVY NEW ZEALAND Auckland, NEW ZEALAND|
|Regan Grafton||Ogilvy & Mather NZ||Executive Creative Director|
|Oliver Maisey||Ogilvy & Mather NZ||Executive Creative Director|
|Darren Wong Kam||Ogilvy & Mather NZ||Creative Group Head|
|Kate Rhodes||Ogilvy & Mather NZ||Agency Producer|
|Paul Hankinson||Hanko Ltd.||Creative director|
|Paul Pritchard||Ogilvy & Mather NZ||Chief Digital Officer|
|Christina Mossaidis||Ogilvy & Mather NZ||General Manager|
The current perception is that being a cop requires physicality and toughness, while it’s true in part, modern policing is more about working with communities and understanding the people within them in order to make a change for the better. That’s why we targeted recruits who strongly identify with qualities like empathy and compassion. To make our point clear we wanted to show our audience exactly the type of person we were looking for. We secretly filmed a series of social experiments that highlighted real-life situations and how the public reacted, showing those who stepped up and helped others in need. In this film a 10yr boy, who looks as if he’s been living rough, begins eating out of a rubbish bin in a busy Auckland street. Over 35 minutes of filming around 550 people had the opportunity to see him and only 10 intervened.
Tactically built around 18-29 year olds, across July to September 2016, our Hungry Boy execution appeared in 494 screens around the country. A selection of targeted film placements was selected to reach our core audiences’ particularly young females (Bad Moms, Mike & Dave Need Wedding Dates) and Maori (Poi E – NZ produced documentary). In addition to these we also previewed in films like Suicide Squad & Jason Bourne playing on the idea of heroism.
The cinema activity reached approximately 7% of our target audience in a 3-month burst, exposing our message to a highly engaged audience. While we cannot track acquisition directly from cinema, engaging with our audience in social environment encouraged discussion and debate and highlighted the need to re-evaluate the role Police have within the community.
Film needs tension and drama, it needs to build suspense and draw people into the story. These are not traditional advertising messages. They depict relevant, contextual and confronting scenarios that hit a visceral and emotional mark. They are designed to get under the skin of our viewer and make them think.
Research confirmed that our target audience of 18-29 year olds are a generation that cares. They are inspired by ideals, want to live in a better world, support worthy causes and actively seek employers with a purpose. What they didn’t know about themselves was that they were already on the tipping point of becoming Police - they just needed help over the line. We needed to show them that a career in the Police Force was their opportunity to create change and make their community a better place. Our creative idea therefore needed to act as the catalyst that would trigger a “moment of realization” amongst our audience giving them the impetus to act. The creative platform was built around the call to action; Do you care enough to be a cop?