Honda has launched “Matthew’s Day Off”, a television commercial featuring Matthew Broderick, a tribute to the 1986 movie Ferris Bueller’s Day Off. Timed to coincide with the 2012 Super Bowl, the ad is part of an integrated, multiplatform advertising campaign for the Honda CR-V, encouraging an active, hip Gen-Y audience transitioning between their carefree twenties and their more focused thirties to conquer their aspirations by completing their own “Leap List.”
Click on the image below to play Matthew’s Day Off in YouTube (HD)
Viewers are invited to the Honda CR-V Facebook page to discover and comment on dozens of “Easter eggs” connected with Ferris Bueller’s Day Off. Fans are encouraged to watch the spot closely to see how many references they can find. For example, an iconic vest that was worn in the original movie is visible in a department store window that appears briefly.
To build anticipation for Honda’s Super Bowl commercial an eight-second teaser, “Coming Soon,” was loaded onto YouTube on January 26, on the ChuckaChucka2012 channel, and amassed over four million views. Comments on the page indicate the teaser had people hoping for a full movie sequel, not an advertisement.
Click on the image below to play the Coming Soon video in YouTube (HD)
A pre-game release of a 2-minute 23-second extended version of “Matthew’s Day Off” will be supported by public relations, search marketing and social media. In addition, Honda fans will get a sneak peek of the Super Bowl ad on Honda’s Facebook page and Google+ page, which was just launched last week. Fans are encouraged to use the hashtag #dayoff online when talking about Honda’s Super Bowl commercial. Momentum will continue the week after the game with several large portal takeovers featuring “Matthew’s Day Off.”
The Matthew’s Day Off campaign was developed at RPA, Los Angeles, by executive creative director Joe Baratelli, group creative director Jason Sperling, creative director Chuck Blackwell, associate creative director/copywriter Ken Pappanduros, art director Ariel Shukert, copywriter David Sullivan, executive producer Gary Paticoff, senior producer Isadora Chesler and director of business affairs Maria Del Homme.
Filming was shot by director Todd Phillips via Moxie Pictures with director of photography Lawrence Sher, executive producer Lizzie Schwartz, head of production Roger Zorovich, line producer Sallie Zilles, production supervisor Barry Heaps and production designer Shepherd Frankel.
Editor was Jim Haygood at Union Editorial with executive producer Michael Raimondi, producer Lynne Mannino and assistant editor Dylan Firshein.
Visual effects and telecine were produced at The Mill by managing director Ben Hampshire, colorist Adam Scott, lead Flame artist Andy Bate, producer Enca Kaul.
Music was produced at Beacon Street Studios by composers (Chinese parade track) Andrew Feltenstein and John Nau, mixer Paul Hurtubise, executive producer Adrea Lavezzoli and producer Caitlin Rocklen.