- Product/Brand - Vauxhall
- Spot - The A-Z Of Corsa
- Song Title - There's A Beast And We All Feed It
- Composer - Bugg, Archer
- Publisher - Kobalt
- Artist - Jake Bugg
- Master Rights - Universal
- Music Supervisor - Leland Music
- Ad Agency - 101
- Creatives - Richard Flintham, Augusto Sola, Ben Williams, Ryan Delehanty
- Film Company - Somesuch & Co
- Film Director - Bob Harlow
- Post Production - Framestore
- Air Date - 15/1/15
Film director Bob Harlow’s name has been on many peoples’ lips since he first came to attention with a BMX-tastic promo for The Rifles in 2008. As well as making further eye-catching music videos for the likes of The Vaccines and Rudimental featuring John Newman, the thirty-something Brit has subsequently graduated to shooting distinctive commercials for Adidas, Absolut and Range Rover.
But if proof were needed that he has retained his sense of social realism, his eye for detail and his skill with a jump cut then look no further than Harlow’s latest film for Vauxhall which broke on January 15.
A mini-travelogue entitled The A-Z Of Corsa, it successfully captures the excitement of driving for those who have just passed their tests.
It also features another distinctly Dylanesque soundtrack from Jake Bugg, marking the third time that Universal’s 21 year-old troubadour has been synced to a blue chip brand since Lightning Bolt – from his 2012 chart topping debut – was linked with Greene King beer and then British Airways’ holidays.
Indeed so closely does the Vauxhall footage fit with Bugg’s blisteringly beaty There’s A Beast And We All Feed It ( from his second album Shangri La) you might think that it was conceived as a video for the song.
And you’d be right, as Leland Music supervisor Ed Baillie explains.
“Essentially Vauxhall’s ad agency 101 were looking to take a fresh approach to the way this heritage British brand is portrayed,” he says.
“Bob Harlow had previously directed the music video for There’s A Beast And We All Feed It, when it was released as a single last year, so he had an affinity with both Jake Bugg and this particular song.”
101 brought Leland Music on board at script stage to carry out additional music research and to handle negotiations for the song. By the sound of it neither task can have proved particularly onerous.
“Everyone was onboard as soon as they saw the music on Bob’s mood film since it had the perfect tone and energy to complement the picture,” Baillie continues. “ As always Neil Mulford at Universal/Globe and Corinne Eady at Kobalt were a pleasure to work with. So it has proved to be a fantastic choice for all concerned.”
