Sponsor (Oct-Dec 1961)

REACH, McCLINTON MEDIAMEN ^ Martini & Rossi whimsical, multi-ending spot series raises media problem; solution sparks N.Y. sales hike ^ Two-station, vertieal plan provides main thrust for drive designed to expose viewer to variety of spots wV lun the wits of Reach. VlcClinton's creative staff came up with a series of four 20-second tv commercials, all presenting the same whimsical situation, hut each with a different ending, the agency's media department had some investigating to do. It was readily determined that frequency was the prime goal for these commercials, assemhled on behalf of Martini & Rossi imported vermouth. The importance of reach was not overlooked of course, but it was felt that for best results viewers ought to see all. or nearly all, of the commercials in the series. To see just one would not convey the ingenuity of the several endings. The more endings each viewer saw, the more his interest would be aroused, and the more likely he would be to pass his viewing experience on by word of mouth. So runs the explanation of Reach, McClinton v. p. -media director Philip C. Kennev. \ll of the commercials depict a scene in the cabin of a "rocking ship'" and feature a Martini & Rossi crate, out of which reaches a human hand i w ith bottle and glass i . and a porthole. In the course of each commercial, the hand emerges from the open half of the crate top and places a glass and a Martini & Rossi bottle on the closed half. While the crate continues to rock along with the ship, the hand pours vermouth out of the bottle into the glass. Bottle and glass are turned loose and slide back and forth with the rocking, first to the nearby porthole, then into the other side of the crate. The four endings consist of the hand's attempts, with cliff-hanger suspense, to save bottle and glass from falling out the porthole or off the other side. In one it succeeds in salvaging both slipping, sliding items, while in the others either bottle or glass disappears out the porthole or off the crate's other side. While the Reach, McClinton media brains agreed that frequency (with proper reach) was the way to give these Martini & Rossi mystery -comedy announcements the appropriate sendoff, it remained to determine the best way to achieve this within the budgetary allotment for the New York metropolitan area where the campaign had its maiden voyage. At the early planning stages, these approaches were examined: • Concentrate on the three network stations, on the rationale that high ratings are necessary to accomplish duplication • Schedule spots adjacent to like program types • Schedule announcements prior to and after the same program • Schedule spots, at intervals, on Martini & Rossi "owned" late afternoon MAIN STRATEGY for airing humorous, multi-ending vermouth spots consisted of vertical, two-station concentration, assumed to hit the bulk of N. Y.'s Sunday viewers. Prime architect of this plan for the offbeat creative concept is Philip C. Kenney, v.p.-media dir. of Reach, McClinton MRTINkROSSI — — »OCK>Ct Cf AN.*- '* , VINO "\rjf ;■ 5S" PM—* ■' UNINIiROSS HictarH -»OC*XT o* 32 SPONSOR 2 OCTOBER 1961