JWT & MPC Creative on Creating a Buzz for Berocca

JWT Creative Director Paul Rizzello

What was the brief that Berocca approached you with?

People tend to think of Berocca as something you take on those days when you're not feeling 100%. Berocca wanted them to see it as something that gives you a positive, energised feeling every day.

What inspired the spot?

We found a clip of an elephant jumping up and down on a trampoline without a care in the world and said to ourselves - that's the Berocca feeling. That's what we should be talking about. Hopefully when you watch the ad it makes you feel energised the same way the product does.

What were the biggest challenges working with a CG chameleon?

The biggest challenge is that you have to take a leap of faith early in the process and make critical decisions without really knowing how it's going to look. But the upside is, once all the main things are locked down, you just watch the film getting better and better every day as Diarmid and the guys at MPC work their magic. 

Diarmid Harrison-Murray, MPC Creative, Director

What appealed about the script?

As soon as I saw the script, I could visualise it, which is always a good sign. The humour in the idea was clear from the start and chameleons are such characterful animals. I loved the idea that we could make this film look very real and still tell a completely bonkers story. For me, it's that balance that makes it more funny and engaging. Also I love the track!

At what point were you brought onto the project?

I was invited to treat on the project at the end of last year. This was early in the creative process which was great. Things moved at quite a pace though as we all knew the schedule was tight. The original script had the one chameleon dancing and a few other jungle animals looking on but I really liked the idea of the whole cast being chameleons. It was a very creative collaboration with JWT.

You’ve worked on iconic campaigns like John Lewis’ Monty the Penguin (above). How did these shape your approach to this piece?

My experience as a VFX supervisor on those big jobs definitely helped. Technically and creatively, that VFX knowledge steers how I approach shot the live action. In terms of directing CG performances too, I've learnt a lot along the way. I've been lucky to see some of the best directors at work, like Dougal Wilson. 

Having said all this, it is important to take my VFX supervisor hat off when I'm working as a director.