to celebrate their new on-screen identity, DCM (formerly Carlton Screen Media) are asking the industry to vote on their favourite ever cult cinema ad. an panel of illustrious experts has narrowed the list down to ten finalists which you can view and then vote for here.
it's quite a list – everything from Kylie's 2001 jaunt on a red velvet rodeo bull for Agent Provocateur to Tony Kaye's surreal effort for Dunlop in 1994. the best of the Diet Coke break ads is in there, as is Carling's Dam Busters, some Guinness Surfers and a reworked Bullitt chase with Steve McQueen behind the wheel of a Ford Puma.
but for me there can only be one winner. in a cinema ad-off, the vote has to go to on-screen communications that have become as integral a part of the modern cinema experience as popcorn and Green and Blacks… communications that have embraced not just the cinema screen but the Hollywood dream sprawling behind it. comms that took said Hollywood dream and subverted it to within an inch of it's life – much to our collective amusement.
over the last five years Carrie Fisher, Snoop Dogg, Alan Cumming, Steven Seagal, Sean Aston, Daryl Hannah, Spike Lee, John Cleese, Macaulay Culkin and even Darth Vader have had their projects subjected to the interference of Mr Dresden and co. the result for Orange is credibility in and associations with cinema that go far beyond the mere placement of an ad. they own this particular bit of media real-estate in a way few other brands have achieved anywhere, let alone on cinema…
in combination with a BAFTA association and Orange Wednesdays, the Orange spot is the result of a determined focus from a marketing team and associated agencies that demonstrate the power of creating content that is contextualised for the channel in which it's appearing. the Orange spot could only work in cinema, it's what gives it it's power. and it's why it's getting Mediation's vote.