THE DANCE

Short List
TitleTHE DANCE
BrandSPEIGHTS
Product / ServiceSPEIGHTS
CategoryA06. Editing
EntrantARC EDIT Sydney, AUSTRALIA
Idea Creation DDB NEW ZEALAND Auckland, NEW ZEALAND
Production ARC EDIT Sydney, AUSTRALIA
Production 2 REVOLVER/WILL O'ROURKE Sydney, AUSTRALIA
Additional Company SPEIGHT'S Dunedin, NEW ZEALAND

Credits

Name Company Position
Craig Baldie Lion National Marketing Director
Ben Wheeler Lion Category Marketing & Sponsorship Director - Beer
Jane Dempsey Lion Marketing Manager Mainstream Bee
Geoff Kidd Lion Brand Manager Mainstream Beer
Gen Brown Lion Assistant Brand Manager Mainstream Beer
Damon Stapleton DDB NZ Chief Creative Officer
Shane Bradnick DDB NZ Executive Creative Director
Rory McKechnie DDB NZ Creative Director
Zac Lancaster DDB NZ Art Director
Jennifer Travers DDB NZ Senior Account Director
Michael Doolan DDB NZ Account Manager
Lucinda Sherborne DDB NZ Executive Planning Director
Judy Thompson DDB NZ Executive Producer
Samantha Royal DDB NZ Senior Agency Producer
Fiona King The Sweet Shop Executive Producer
Larisa Tiffin The Sweet Shop Producer
Steve Ayson The Sweet Shop Director
Lachlan Milne Lachlan Milne DOP
Simon Price ARC EDIT Editor
Joseph Perkins ARC EDIT Owner & Executive Producer
Olivia Carolan ARC EDIT Editorial Producer
Raphaëlle Saïd ARC EDIT Editorial Production Manager
Trish Cahill Trish Cahill Colourist

Brief Explanation

New Zealand beer brand Speights has broken with beer ad tradition and taken to the dancefloor with a heartwarming new campaign. The two-minute film, called The Dance’, follows two workmates, as one teaches the other to dance. The ad also features other workmates, who provide critique on the men’s style and dance moves. The ad aims to break with the brand’s history of creating “blokey heroes” in their ads which have seen men earn a well-deserved beer through feats of strength, cunning, comedy – or a combination of all three. In ‘The Dance’ Speights showcases mateship, hard work and love, as well as reintroducing the brand’s iconic tagline, Good on Ya Mate’.

An edit that tells the story as much as the characters and performances do, this works with all of the elements captured to great comic effect. However, it is played out in a very matter of fact tone, and doesn't go for the traditional methods of comedy. Instead, the juxtaposition of the traditional masculine environments of the manual labour workplace and the artistic flair of the dance is allowed to exist alongside one another, offering a new viewpoint and way to tell this very intimate story.