It's a Wonderful Line|海报/平面|广告营销案例【ADGuider广告指南】

这是一条很棒的线

案例简介：为什么这项工作与公关相关？ 1.它是由公关机构创建的100%。 2.没有媒体支出。 3.这场运动完全由挣来的媒体驱动。背景家人的担忧。债务堆积在债务上。孤独隔离。对许多人来说，一年中最美好的时光是完全可怕的。将这种情况与季节性酒精混合在一起，所有铁路公司都报告12月份自杀和自杀未遂人数大幅上升，这并不奇怪。每一次悲惨的死亡自然都会对目睹或接触到它的司机、铁路工人和乘客产生地震和往往不可逆转的影响。我们的简介: 在圣诞节期间，围绕精神卫生传递一个振奋人心的积极信息，帮助那些需要帮助的人，同时也在节日期间与维珍列车更广泛的乘客相关。描述创意 (20% 的选票) 我们看着文化、圣诞节和自杀相遇的地方: 这是一个美好的生活，乔治·贝利的故事，一个打算在圣诞节前结束生命，但却在朋友和家人的支持下获得安慰的男人。从尤斯顿开始，到格拉斯哥结束16站，我们沿着覆盖7.5千米的平台黄线画了这部电影的剧本。我们包括了一个URL，如果人们或亲近的人需要支持，他们可以访问以获取信息。描述公关策略 (30% 的选票) 这是一场与两位观众交谈的运动。第一批观众是容易的。家人、朋友、通勤者、夫妇 -- 都在进行节日旅行，兴奋地为假期做准备。他们只想从圣诞活动中得到娱乐。不太容易的是那些可能自己正在经历精神卫生问题 (或者可能关心朋友或家人) 的人。我们需要小心和同情地对待观众。我们的出发点是会见专家: 撒玛利亚人和重新思考精神疾病。它们是无价的。他们告诉我们，在车站甚至站台边缘，正确定时的干预通常是劝阻潜在自杀所需要的一切。描述PR执行 (20% 的选票) 首先，我们联系了派拉蒙，要求免费获得美好生活的权利。他们答应了。然后，我们联系了英国铁路网公司，要求获得在他们所有平台上免费绘画的权利。他们也答应了。在几个月的时间里，我们接触了几十个和火车相关的利益相关者，更不用说撒玛利亚人和重新思考了，实际上每个人都同意了。这是一个圣诞奇迹。从尤斯顿开始，到格拉斯哥结束16站，我们用巨大的文字沿着平台的黄线描绘了《这是一个美好的生活》的全文，总共覆盖了7.5千米。如果人们或亲近的人需要精神支持，我们会定期提供一个网址来获取信息。平台上的平面广告和海报进一步深入了解了该活动及其目标。列出结果 (30% 的选票) 您必须至少包括以下两层: 这场运动总共持续了八周，在此期间，它获得了全国、地区和广播频道的广泛报道。每一项报道都引用了这场运动的精神卫生要素，但有些报道走得更远。蒂姆 · 亚当斯在《观察家报》上写道，这是 “一个被嘲笑和刻薄撕裂的国家的希望信息”。他继续说道: “也许这个项目也为目前困扰我们破碎的民族精神的问题提供了一个安静、不真实的答案 -- 我们将如何让我们的国家重新团结起来？我们可能团结在一起的价值观是什么？" 这项运动总共达到了4.2亿人，在现实生活中约有100万人看到。最后，在文本出现在站台上的时候，维珍铁路没有报告过一次站台自杀 -- 这是该时期的第一次。

这是一条很棒的线

案例简介：Why is this work relevant for PR? 1. It was 100% created by a PR agency. 2. There was no media spend. 3. The campaign was entirely driven by earned media. Background Family worries. Debt piled upon debt. Loneliness and isolation. ‘The most wonderful time of year’ is, for many people, utterly dreaded. Mix that together with a seasonal dose of alcohol and it’s unsurprising that all rail companies report a massive spike in suicides and attempted suicides during the month of December. Every tragic death naturally has a seismic and often irreversible impact on the drivers, railway workers and passengers who witness or come into contact with it. Our brief: deliver an uplifting, positive message at Christmas time around mental health that reaches those in need of help, while also being relevant to a wider audience of Virgin Train’s passengers during the festive period. Describe the creative idea (20% of vote) We looked to the place where culture, Christmas, and suicide meet: It’s a Wonderful Life, the story of George Bailey, a man who contemplates ending his life just before Christmas but instead takes solace in the support of his friends and family. Starting in Euston and ending 16 stations later in Glasgow we painted the film’s script along the yellow line of platforms, covering 7.5km. We included a URL people could visit to get information if either they or someone close were in need of support. Describe the PR strategy (30% of vote) This was a campaign talking to two audiences. The first audience are the easy ones. Families, friends, commuters, couples – all going about their festive travel, excitedly getting ready for the holidays. All they want from a Christmas campaign is to be entertained. Less easy were the audience of individuals who may themselves be experiencing mental health issues (or may be concerned about friends or family). An audience we needed to handle with care and compassion. Our starting point was to meet with experts: the Samaritans and Rethink Mental Illness. They were invaluable. They told us that a correctly timed intervention, at the station or even at the platform edge, is frequently all that is needed to dissuade a potential suicide. Describe the PR execution (20% of vote) First, we approached Paramount and asked for the rights to It’s a Wonderful Life for free. They said yes. Then, we approached Network Rail and asked for the rights to paint on all of their platforms for free. They also said yes. Over the course of several months, we approached dozens and dozens of train-related stakeholders, not to mention the Samaritans and Rethink, and literally everyone said yes. It was a Christmas miracle. Starting in Euston and ending 16 stations later in Glasgow, we painted the entire text of It’s a Wonderful Life in giant script along the yellow lines of platforms, covering 7.5km in total. At regular intervals we included a web address people could visit to get information if either they or someone close were in need of mental support. Print ads and posters along the platforms gave further insight into the campaign and its objectives. List the results (30% of vote) must include at least two of the following tiers: The campaign lasted eight weeks in total, during which time it secured swathes of coverage across national, regional and broadcast channels. Every piece of coverage referenced the mental health element of the campaign but some went far, far further. Tim Adams, writing in the Observer, described it as “A message of hope for a nation torn apart by sneering and vitriol”. He continued: “The project also, perhaps, offers a quiet, unspooling answer to the questions that currently nag at our fractured national psyche – how will we ever bring our country back together? What are the values that we might unite around?” In total the campaign delivered a reach of 420 million and was seen in real life by approximately 1 million people. Finally, during the time the text was on the platforms, Virgin Trains didn’t report a single platform suicide – a first for the period in question.