Tag: Automotive marketing

BMW Films: The Escape

BMW Films has teamed up with Academy Award nominated director Neill Blomkamp (“District 9,” “Elysium”) to create an action-packed short film to promote the new upcoming 2017 BMW 5 Series.

The story centers around a young girl simply named “Five”, played by Dakota Fanning, who is the subject of seemingly illegal experiments.

With the FBI cracking down on the company responsible for such experiments, Oscar nominated actor Clive Owen plays the nameless transporter who is hired to get Five out of there. The action ensues.

Why BMW Films still works as a launch format

This is not a product demo dressed up as content. It is content where the product belongs naturally. The car is not the “message”. It is the tool that makes the story credible.

Extractable takeaway: Branded entertainment only pays off when the product is structurally necessary to the story, because that necessity makes the brand presence feel earned.

Here, “branded entertainment” means a film that works as entertainment even if you are not shopping, with the brand woven into the premise instead of appended as a pitch. Because the car drives the plot, the attention feels earned and people share it as a short film, not a launch asset.

  • Talent creates attention. Director and cast set a quality bar that feels like entertainment, not advertising.
  • The vehicle role is functional. Driving, control, and decision-making are essential to the plot.
  • Shareability comes from story. People pass it on because it is a short film worth watching, even without shopping intent.

In global high-consideration launches, long-form story formats work when they make the product feel necessary before anyone compares specs.

The brand job: make the new 5 Series feel inevitable

When a film like this lands, it does two things at once. It signals confidence and it frames the new model in an emotional territory that spec sheets cannot reach. Capability, composure, speed, control.

The real question is whether your launch format makes the product feel inevitable, not merely visible.

The benefit is not that viewers remember a feature. The benefit is that they remember a feeling, and they connect that feeling to the 5 Series before they ever step into a showroom.

What to take from this if you are launching something complex

  • Earn attention with craft. If you want people to choose long-form, it needs to deserve their time.
  • Give the product a role, not a cameo. If it does not matter to the plot, it will feel bolted on.
  • Let story carry the distribution. The strongest paid media is the one you do not need because people share it anyway.
  • Build a universe, not a one-off. Formats like BMW Films work best when audiences expect the next chapter.

A few fast answers before you act

What is “BMW Films: The Escape”?

It is a branded short action film created to promote the upcoming 2017 BMW 5 Series, directed by Neill Blomkamp and starring Clive Owen and Dakota Fanning.

Why use a short film instead of a classic launch ad?

Because story earns time and attention. It creates emotional association and premium perception that traditional product messaging often cannot deliver on its own.

What is the product role of the BMW 5 Series in this format?

The car functions as an essential tool in the narrative. It supports the transporter premise and makes the action feel credible, rather than serving as a standalone showcase.

What makes branded entertainment feel “credible”?

High production quality, real creative talent, and a story where the brand presence is natural and necessary, not forced.

What is the practical takeaway for launch teams?

If you want to use long-form content, design it as entertainment first, then embed the product so it belongs, and the attention will travel further.

Porsche: Interactive Hologram Print Ad

To launch its latest 911, Porsche created a print ad that behaves like a device. Working with agency Cramer-Krasselt, Porsche placed a small acetate sheet into Fast Company’s April issue, turning a magazine spread into a build-it-yourself prism and an interactive “hologram” experience. In this context, “hologram” refers to a prism illusion created from tablet-screen content.

The execution ran as a four-page spread inserted into around 50,000 copies, complete with assembly directions. Porsche billed it as the world’s first interactive hologram print ad.

When a magazine page turns into a viewing tool

The mechanic is the whole point. You fold the acetate into a small prism, place it on top of a tablet, then use the screen content to create the floating 3D-style illusion inside the prism. Print does not “show” the car. Print enables the car to appear.

That shift matters. Instead of asking a reader to imagine innovation, the ad makes them assemble it, which turns curiosity into action.

In premium automotive marketing, making print behave like a device is a fast way to earn attention from audiences who think they have seen every format.

Why the prism matters more than the hologram

The hologram effect is a spectacle, but the prism is the message. It signals precision, engineering, and fascination through the act of building. It also gives the reader a reason to keep the insert, show someone else, and replay the experience, which is exactly what print needs when attention is scarce. The real question is whether the build step makes “innovation” feel earned rather than claimed.

Extractable takeaway: If you want a print unit to signal modernity, make it an enabling tool the viewer assembles, so the interaction itself becomes the proof.

What Porsche is really buying

The business intent is to make a high-end model launch feel as advanced as the product story. A conventional print page can carry features and beauty. This format carries a proof point. Porsche can credibly say, “We pushed the medium,” and that halo transfers to “we pushed the car.”

This is a smart launch move because it turns medium innovation into a product halo without adding more copy.

Steal this print-as-device pattern

  • Make the reader do one small action. Folding beats scanning when you want ritual, not convenience.
  • Let print enable the experience. The page becomes the trigger, not the canvas.
  • Keep the rules idiot-proof. If assembly fails, the entire idea fails.
  • Use scarcity and selectivity. A targeted drop can feel more premium than mass coverage.

A few fast answers before you act

What is an “interactive hologram print ad”?

It is a print ad that includes a physical component, in this case an acetate prism, that turns a tablet screen into a hologram-style viewing effect. The print unit is the enabling tool.

How does the prism create the hologram effect?

The prism reflects and refracts imagery from the screen into a floating illusion. The viewer sees the content “inside” the prism rather than flat on the tablet.

Why put this in a business magazine like Fast Company?

Because the audience expects innovation and is more likely to try a format experiment. It also gives the stunt credibility as “design and tech”, not just “advertising.”

What is the biggest execution risk?

Friction. If instructions are unclear, materials are flimsy, or setup takes too long, people drop the experience before the payoff.

What should you measure for a print-to-device activation?

Completion rate of the build, repeat views, sharing behavior, and brand recall lift versus a standard print placement. The real KPI is whether the mechanic gets retold accurately.

MINI: We Tow You Drive

Driving a MINI is addictive. Which is why drivers who test drive are more likely to buy one. So to get prospective customers to test drive, MINI decides to help drivers stranded by their own cars.

MINI partners with a tow service company and responds to breakdown calls in real time throughout Singapore. The campaign not only takes the test drive out of the showroom and onto the streets. It also turns an annoying situation into a pleasant surprise.

A test drive that arrives exactly when you need a lift

The mechanism is the point: instead of asking people to come to MINI, MINI shows up when a driver has an immediate mobility problem. The tow moment becomes the conversion moment, because the customer is already thinking about reliability, comfort, and what it feels like to be back in motion.

In urban automotive acquisition, the strongest test drives happen when the product solves a real, present problem, not when it is scheduled as a chore.

Why this is more than a stunt

This idea works because the brand is doing something useful first. The “surprise” is not a discount. It is relief. That usefulness makes the experience feel earned, and it also makes the story more shareable. Brands should earn attention by delivering utility before they ask for consideration. The real question is whether your operations can make the promise true in real time, not whether your creative can make it look clever.

Extractable takeaway: When your acquisition moment solves an urgent problem, the product benefit lands as lived proof, and the customer tells the story for you.

A similar play from Brazil

A Brazilian Chevrolet dealership in 2012 reportedly ran a very similar “breakdown to test drive” promotion in Brazil with the Chevrolet Cobalt.

What to steal from tow-to-test-drive

  • Move the product moment into real life. A test drive is more persuasive when it is embedded in a situation that matters.
  • Use real-time operations as marketing. The experience is the message when the service delivery is visible.
  • Turn frustration into gratitude. Solving a pain point creates a stronger memory than any feature list.
  • Design for talk value without forcing it. Talk value is the retellable detail someone repeats to friends. If the help is genuine, sharing happens naturally.

A few fast answers before you act

What is “We Tow You Drive” in one line?

A test drive activation where MINI partners with a tow service and turns real breakdown moments into an unexpected opportunity to drive a MINI.

Why is roadside assistance a smart acquisition moment?

Because the customer has immediate need. They are receptive to a solution and they feel the product benefit in the exact moment mobility is restored.

What is the main risk in copying this idea?

Operational failure. If response times are slow or the handoff feels messy, the “rescue” story flips into frustration.

How do you keep this from feeling opportunistic?

Lead with help, not pitch. The driver should feel rescued first, and only then invited to try the car, with an easy opt-out.

What is the most transferable lesson?

Stop treating test drives as appointments. Put the product into a real situation where it solves a real problem, and let the experience do the persuasion.