Light touch

Spearheading Neilson Cadbury’s product launch of Crispy Crunch Light is a pool of three 30s, directed by Circle Productions’ Rob Turner, that, for the time being anyway, leave Duke and Jane grappling for a piece of the other’s Crispy Crunch.

With spokesperson Crystal Bernard (Wings) on board, the Crispy Crunch Light spots are building a unique identity for the new product, says Leo Burnett account supervisor Michelle Smyth.

‘Bubbles’ and ‘Treadmill’ – look closely at your television screens folks, betcha can’t tell it was Circle’s boardroom that served so well as the makeshift bathroom and workout room – were the first spots to air. ‘Airport’ was filmed on Toronto Island and will be broadcast sometime in September.

‘Airport’ begins with a long shot of Bernard in a familiar setting. Our young hero’s narrative begins casually enough with ‘I’ve been thinking about these Crispy Crunch Light bars,’ as she waits in line to go through the metal detector.

The more Bernard thinks about how Crispy Crunch Light has ‘25% fewer calories than Crispy Crunch,’ the more impassioned she becomes.

Turner makes the most of Bernard’s impeccable sense of comedic timing and improvisational skills as she punctuates the script with gestures and facial expressions: ‘So doesn’t that mean the more bars I eat the more calories I save? I think so. Doesn’t that mean if I have four bars that I’m saving 100% calories? So doesn’t that mean I get to eat a whole one for free? Yeah, it’s sorta like frequent eater points.’

The loose rationale of the script works hand in hand with the fluid movements of the camera. These elements, combined with a quick editing pace, give us a peek into Bernard’s staggered stream of consciousness as she enters the ‘should-I-or-shouldn’t-I-eat-the-chocolate-bar’ battle.

‘Airport,’ like ‘Bubbles’ and ‘Treadmill,’ is easy to watch. If Duke and Jane are the epitome of coupledom, Bernard is the ’90s version of everywoman. She travels! She exercises! She bathes! She loves chocolate!

The spots were shot over two days by cinematographer Nick Taylor, with Timothy Turner executive producing and Jane Thomson producing.

Leo Burnett credits go to writer and art director Rick Kemp, producer Brenda Surminski, creative director Martin Shewchuk and associate creative director Jeff Finkler.

On-line editing was done at Command Post and Transfer and Alex Eaton of Third Floor Editing was off-line editor. JL