Title | GRAVE OF THRONES |
Brand | FOXTEL |
Product / Service | GAME OF THRONES |
Category | D05. Spatial & Sculptural Exhibitions and Experiences |
Entrant | DDB SYDNEY, AUSTRALIA |
Idea Creation | DDB SYDNEY, AUSTRALIA |
Idea Creation 2 | THE GLUE SOCIETY Sydney, AUSTRALIA |
PR | MANGO Sydney, AUSTRALIA |
Production | REVOLVER/WILL O'ROURKE Sydney, AUSTRALIA |
Additional Company | PHOTOPLAY Sydney, AUSTRALIA |
Name | Company | Position |
---|---|---|
Ben Welsh | DDB Sydney | Chief Creative Officer |
Tara Ford | DDB Sydney | Executive Creative Director |
David Jackson | DDB Sydney | Creative Director |
Tommy Cehak | DDB Sydney | Senior Creative |
Tim Woolford | DDB Sydney | Senior Creative |
Ramon Rodriguez | DDB Sydney | Senior Designer |
Sevda Cemo | DDB Sydney | Head of Integrated Content |
Sam Harris | DDB Sydney | Producer |
Andrew Little | DDB Sydney | Chief Executive Officer |
Priya Patel | DDB Sydney | Managing Director |
Penny Dixon | DDB Sydney | Managing Partner |
Joseph Smeaton | DDB Sydney | Planning Director |
Kirsty Mould | DDB Sydney | Senior Business Director |
Lisa Zimpel | DDB Sydney | Senior Business Manager |
Liv Pultar | DDB Sydney | Project Director |
Richard Maxton | DDB Sydney | Content Editor |
Danny Grifoni | DDB Sydney | Sound Engineer |
Tabitha Fairbairn | Mango Communications | Managing Director |
Ben Handberg | Mango Communications | Head of Consumer |
Jim McGorty | Mango Communications | Project Director |
Revolver /Will O'Rourke | The Glue Society | Artists/Project Directors |
Michael Ritchie | Revolver/Will O'Rourke | Managing Director/Executive Producer |
Pip Smart | Revolver/Will O'Rourke | Executive Producer |
Jasmin Helliar | Revolver/Will O'Rourke | Executive Producer |
Isabella Vitelli | Revolver/Will O'Rourke | Producer |
Enzo Iacono | N/A | Production Designer |
Emma Gracie | N/A | Art Director |
Rebeka Watson | DDB Sydney | Dresser/Buyer |
Greg Hajdu | N/A | Construction Manager |
Andrea Davies | N/A | Illustrator |
Romello Pereira | Photoplay | Photographer |
Libby Hams | Photoplay | Producer |
Brian Walsh | Foxtel | Executive Director of Television |
Jo McAlister | Foxtel | Director, Content Marketing |
Jamie Campbell | Foxtel | Director, Publicity & Talent |
Kieren Cooney | Foxtel | Chief Sales & Marketing Officer |
The Glue Society | The Glue Society | Artists/Project Directors |
Foxtel have been the official broadcaster of ‘Game of Thrones’ in Australia for the last seven seasons. The premiere of the final season in April presented an opportunity to capitalise on the global hype surrounding the show, to help build brand love and drive sales. In recent years, Foxtel has had trouble fending off newer, more ‘hip’ broadcast offerings from streaming services like Netflix, and the brand has been perceived as ‘outdated’ and ‘uncool’. This event was particularly important in positioning Foxtel as not only a place to find the world’s best content, but as a brand that is culturally relevant, understands fans, and rewards them with experiences that competitors aren’t capable of.
Game of Thrones isn’t just one of the most popular shows of all time, it’s also one of the deadliest, with more than 100,000 Kings, Queens, Giants and mythical beasts having lost their lives since it began. These deaths have had an incredible impact on fans, who react with delight and despair in equal measure. Recognising this, we tapped into an audience insight in a way no one had before, and built a ‘final resting place’, to promote the final season. The ‘Grave of Thrones’, a one-off experiential event, was an enormous cemetery erected in one of Sydney’s most popular public parks, where fans of the show were invited to come and pay their respects to those who had died over seven seasons. Turning fictional characters into something much more real than they were on screen.
The 2,000 square metre cemetery featured the tombs of 34 of the show’s most notorious characters. The curation of characters were poured over, so that every grave was appealing for different reasons - from fan-favourites to the most hated. Each grave was layered in reference to the life and death of these characters. The tomb of Ramsay Bolton for example, who was eaten by his dogs, featured the macabre placement of a dog bowl at the base. Narratives like this were woven into every detail of every tomb. The headstones also featured the season and episode the character died, and using Foxtel’s mobile streaming service people could watch their death while standing at their grave. A streamable audio-tour provided further information about each characters life and death. The sheer size of the build took teams of Australia’s best set builders, sculptors, and artists thousands of hours to bring to life.
The response was extraordinary and in just three days we saw a 300% increase in searches for Foxtel, resulting in a 17% increase in viewership. The Grave of Thrones cemetery saw nearly 30,000 people come and pay their respects, with some driving hours across the state of New South Wales to be there. The Grave of Thrones website saw more than 20,000 unique visitors and more than 5,000 downloads of the cemetery map. Social media was alight with tens of thousands of images, videos, tags and mentions across various platforms. Foxtel's brand sentiment was at an historic high of 97%, and there were more than 350+ global news stories mentioning Foxtel. Coverage included local mainstream television news, global news, digital publications, and mainstream local and global press. This resulted in more than 410 million media impressions, making the ‘Grave of Thrones’ the most successful promotional experience in the brand’s history.