New UN Campaign Banned From Czech TV

A new campaign from the Czech Republic for the United Nations High Commissioner for Refugees (UNHCR), co-made and co-funded by the UN, Y&R Prague, production company, Stink and director Martin Krejci, has been banned from airing on Czech television. 

The TV campaign responds to the current debate about migration by recalling recent Czech history and dramatises the story of a daring escape from Czechoslovakia during the country's era of Communism.

The one-minute spot, directed by Krejci, re-enacts the escape of Josef Hlavatý, who flew over the Czech border in the 1980s in a hand-made hang-glider with his three year-old son on his back. 

There is also an accompanying press and radio campaign centring on other stories of escape from former Czechoslovakia. 

You can see the spot, called Windless, above, while below Krejci, Stink's Daniel Bergmann and Y&R Prague creative director, Tereza Svěráková discuss the spot, why they had to make it and the reastion from Czech authorities. 

What was the brief from the client?

TS: In this case it was us [Y&R Prague] who approached the client. We felt very strongly about the growing, hateful atmosphere towards the refugees in the Czech Republic. We had to do something about it. Speak out loud.

The timing turned out to be perfect. UNHCR was just thinking about the need to make a campaign.

I knew from the beginning that we shouldn't end up with a campaign trying to moralise to people. We just wanted to remind ourselves, Czechs, that being a refugee is a strong part of our history. History that happened only 25 years ago. 

Did you know immediately how you would approach it and how did you get to the final idea?

TS: We started searching for the true stories of Czechoslovak refugees. And we found some amazing ones we didn’t even know existed: The story of a guy who rode to freedom on power lines, a youngster who hid inside a coffin on the bottom of a coal wagon, a man who fled to the other side of the border on a self-made hang-glider with his three-year-old son on the back. The most difficult part was to find these people, talk to them and get their stories authorised. 

The issue of refugees is a very divisive one at the moment; is working on a politically charged message more difficult than a ‘normal’ brand?

MK: I found it actually easier, because everyone knew what was the purpose and goal. There were no hidden agendas, no double-guessing. I wrote the story based on the agency brief and when they approved it, it was our thing.

Everyone who worked on it did it not for money but for the message [behind it]. We believed that this can be our way of adding something to the debate on that matter, to stress that it’s about being human, merciful and sensitive and that those human aspects should always stay above everything else.

We were not trying to be judgmental because fear is natural, we just wanted to add a certain human aspect to the debate which, especially in east Europe, is very fearful. 

DB: It is quite different to a normal commercial brand, but not more difficult. It is natural to work enthusiastically on issues we believe in. It was very good collaboration with the agency, they gave us a good, simple idea and script as a base and let us develop it and execute it.  

There has been some resistance to broadcasting this spot on Czech TV; can you elaborate on that?

MK: That was the most absurd moment of it, and actually a good indicator of how bad the situation is in Czech Republic. They got scared. It shows not really a good aspect of Czech TV, which should be independent of political influences, like the BBC, for example.

And [this campaign] had zero political charge but aims to wake the human aspect in people. But it has proven that certain political influence has some power over the management of Czech TV, so they bailed… 

DB: Yes, Czech TV has gone back on their original agreement to run it. It demonstrates incredible weakness, where a protection of personal interests interferes over public responsibility. It is a true scandal and it defeats the purpose of a public broadcaster 

TS: When UNHCR contacted Czech Television, they were at first really excited to support the campaign. But in the end, they declined, sending a long explanatory letter. It only illustrates the atmosphere in the country. Supporting anything connected with the refugee topic has become a dangerous thing, and very political, as even some of the highest state authorities are loudly expressing their very negative attitude towards accepting refugees in the Czech Republic.

You’re from the Czech Republic so I’m assuming you have strong feelings about this particular project; was it important to be involved?

MK: Even thought I don’t live there, I still consider myself as Czech. I totally respect other opinions but I simply fear that the vibe in society is very dangerous. The situation is very difficult, without a doubt, but even more so we should learn from history and not repeat it. I know it’s very naive and idealistic but at least we have tried with this little film and campaign.

DB: I was thinking about doing something around this issue and this project came as if from heaven. We did it not only because I am Czech and Jewish, but because we are all born in what is supposed to be modern, post-war Europe.

I feel the level of xenophobia in Europe, including the UK, is a worry. We have to all get involved and act. And we have supported it as a UK-based company.

It’s a bleak but ultimately uplifting story; was it important to show the positive side of human nature?

MK: We wanted to show that there was someone to help on the other side. So the answer is yes, it was important to show what we believe makes us human; emphaty and kindness.

DB: Yes, it is about hope in the end and let's not forget it is based on real people's stories. It was important to make it authentic and emotional. Their determination gives it the feeling that anything horrible can and will be overcome at the end. That's positive.

What was the hardest part of the production process?

MK: It was very cold and the schedule was very tight because as always with this kind of projects, it was no budget story.

DB: The weather. It was very cold, and the flying was bit scary, but overall it was dream to work with Martin, Jan [Velicky, DP] and their great crew. The agency and the UN were fantastic too.

What do you hope this campaign achieves?

MK: Its always trick to predict but I would love for it to help to open the discussion. It was also great to see that we could gather probably the best crew you can get in Prague and they all worked for free, just to support the idea. So I guess the situation is not that bad... at least amongst the film society.

DB: I really hope it will be a big controversy, that it will start a debate and expose the intolerant part of society, and that it wakes up the solidarity and tolerance in people.