Your favorite scene as often as you want. With the time shift function of Premiere.
Personally, the Terminator allusion is the easiest one to crack. The telltale font type says it all; we don’t really need the countenance of one Arnold Schwarzenegger looming large here.
However, I bet my paltry movie knowledge on Apocalypse Now being the most indistinguishable of the three. Don’t get me wrong; the line “I love the smell of Napalm in the morning” by Robert Duvall has gone down in movie immortality. But hundreds of similarly themed films have lined up since Francis Ford Coppola released his 1979 vision of war-ravaged Vietnam. This part of the ad is going to need more than the familiar type of the movie to remind younger movie buffs. I could swear Buffy The Vampire Slayer used this type once.
That said, the use of Apollo 13‘s unforgettable quote is a no-brainer, although it mustn’t be credited entirely to the movie. “Houston, we have a problem” was uttered in real life by a crew member of the lunar mission.
If Premiere Pay TV really wants a larger demographic, they could have commissioned print ads with foolproof lines like “I’ll never let go, Jack” or “You had me at hello.” Not that Premiere would need a lot—it is already Germany and Austria’s preeminent pay TV operator.
Living up to its namesake, Premiere debuts 300 movies year after year, 24 hours a day. Whether they’re Hollywood staples or German blockbusters, the programming doesn’t once break for commercials. And as the ads promise, Premiere broadcasts movies through time-shifted channels. In other words, subscribers can view the film when they please, making the watching experience more personalized. It has two movie channels, Premiere 1 and Premiere 2.
Live sports events can also be exclusive to Premiere. For one, Formula One fans can see the action from extra camera angles while football-minded subscribers are treated to conference link-ups. On top of that, Premiere offers numerous theme channels and digital audio content.
Premiere is said to be the only TV operator in Germany with two high-definition television formats for its programs.
Now that’s sehr schön!
Advertising Agency: DDB Germany/ Düsseldorf, Germany
Creative Directors: Amir Kassaei, Eric Schoeffler
Copywriters: Dennis May, Lena Reckeweg
Art Directors: Kristine Holzhausen, Markus Rittenbruch
Photographer: Christian Stoll
Graphics: Marilyn Wolf