Honda Wild Horse Chase

Honda Australia is promoting the new Honda CR-V Series II SUV with an advertising campaign featuring coloured wild horses. The campaign is centred around the imagination of a young girl who is determined to replace her broken pink toy horse. Her father plays along with her solution to the problem, only to discover it is more spectacular than he could have imagined. Featuring the song ‘Howlin’ For You’ by The Black Keys, the television commercial includes a special horse ranch and muster of a herd of horses with a difference. No matter where the road leads, the CR-V Series II is the SUV that’s made to ‘go with it’. The TVC is being supported with an integrated campaign that includes cinema, outdoor, online, social and dealer communications.

Honda Wild Horse Chase

Honda Australia director Stephen Collins said the CR-V nameplate has a long, proud history in Australia and set the benchmark for SUVs when it was first launched back in 1997. Says Collins: “The CR-V is a core model for Honda both globally and locally. With such significant upgrades made recently on the Series II range, we wanted to support this important model with a new campaign that taps into the fun and energy of the CR-V.”

Jason Williams, executive creative director at Leo Burnett Melbourne, explains the creative thinking behind the campaign. “The idea came from the insight that having children is its own adventure and sometimes you have to go on a bit of a wild goose chase to appease the imagination of a young child.”

Honda Wild Horse Chase Twitter

Credits

The Honda Wild Horse Chase campaign was developed at Leo Burnett Australia, Melbourne, by executive creative director Jason Williams, creatives Joe Hill and Garret Fitzgerald, senior agency producer Cinnamon Darvall, group account director Chris Ivanov, senior account director Jaime Morgan, director of integrated strategy Ilona Janashvili, working with Honda Australia general manager sales and marketing Stephen Collis, brand communication manager Melissa Altarelli, specialist Sarah Holliday and coordinator Megan McDermott.

Filming was shot by director Hamish Rothwell via Goodoil Films with director of photography Crighton Bone, executive producer Sam Long and production designer Guy Treadgold.

Casting was handled at Catch Casting NZ and Mullinars, Sydney.

Editor was Peter Sciberras at Method Studios. VFX supervision was by Colin Renshaw at Alt.VFX. Sound was designed at SoundLounge by sound engineer Sam Hopgood and producer Lizzie Haussegger.