Cog (advertisement)

Add links
This is a good article. Click here for more information.
Source: Wikipedia, the free encyclopedia.

Cog
Honda Accord Euro
Release date(s)6 April 2003 (television)
Directed byAntoine Bardou-Jacquet
Music byThe Sugarhill Gang ("Rapper's Delight")
Starring
Production
company		Partizan Midi-Minuit
Produced byJames Tomkinson
CountryUnited Kingdom, Australia, Worldwide
Budget£1m (production)[1]
£6m (campaign)[2]
Preceded by"Play"
Followed by"Sense"
Official websitehttp://www.honda.co.uk

"Cog" is a British

The Mill to handle post-production. The 120-second final cut of "Cog" was broadcast on British television on 6 April 2003, during a commercial break in ITV's coverage of the 2003 Brazilian Grand Prix
.

The campaign was very successful both critically and financially. Honda's UK domain saw more web traffic in the 24 hours after "Cog"'s television début than all but one UK automotive brand received during that entire month. The branded content attached to "Cog" through interactive television was accessed by more than 250,000 people, and 10,000 people followed up with a request for a brochure for the Honda Accord or a DVD copy of the advertisement.

The high cost of 120-second slots in televised commercial breaks meant that the full version of "Cog" was broadcast only a handful of times, and only in the United Kingdom, Australia, and Sweden. Despite its limited run, it is regarded as one of the most groundbreaking and influential commercials of the 2000s, and received more awards from the television and advertising industries than any commercial in history.[3] However, it has also faced persistent accusations of plagiarism by Peter Fischli and David Weiss, the creators of The Way Things Go (1987).[4]

Sequence

"Cog" opens with a

ziplines made from a bonnet release cable, scales and see-saws constructed from multiple carefully balanced parts, and a swinging mobile
of suspended glass windows. Later sequences begin to make use of the Accord's electronic systems; the automated water sensors attached to the windscreen are used to make wiper blades start crawling across the floor, and a side door with a door-mirror indicator lowers the automated window to let a part pass through.

The majority of "Cog" takes place in complete silence, the only sounds coming from the collisions of the pieces themselves. This is broken with the activation of the

key fob is pressed, closing the hatchback of a fully assembled Honda Accord Wagon on a carefully balanced trailer. The car rolls off the trailer, and stops in front of a tonneau cover bearing the "Accord" marque, while narrator Garrison Keillor asks "Isn't it nice when things just work?". The screen fades to white and the piece closes on the Honda logo and the brand's motto, "The Power of Dreams".[5]

Production

Background

A blue saloon car parked in a bay in an empty car park. The licence plate is blank.
"Cog" was released to promote the seventh-generation Honda Accord.

Honda's share of the European

Nissan. European consumers perceived the brand as staid and uninspiring, and the cars to be of lesser quality than those produced by European manufacturers.[1][6] In one survey, one quarter of respondents "wouldn't dream of buying a Honda as their next car".[7] It was in this climate in 2001 that advertising agency Wieden+Kennedy proposed to Honda a new advertising strategy based on the company's Japanese motto, "Yume No Chikara" ("Power of Dreams"). The stated goal of the campaign was to increase Honda's share of the UK market to five percent within three years and to change the public image of the brand from "dull but functional" to "warm and consumer-friendly", all on a lower marketing budget than its predecessor agency had demanded.[8]

The first series of promotions in the United Kingdom adopted the

Okay) was replaced with "What if?". The next few pieces of the campaign, "Pecking Order", "Seats", and "Bus Lane" for television and "Doodle", "Big Grin", and "Oblonger" for radio, became progressively more surreal, and featured oddities ranging from a traffic cone draped in leopard fur to trees growing traffic lights from their branches.[1] In 2002, W+K Creative Directors Tony Davidson and Kim Papworth and creative team Matt Gooden and Ben Walker, proposed a new television and cinema advertisement to promote the seventh-generation Honda Accord line that had recently been rolled out in Europe and Japan. The advertisement, based on a complex chain reaction of moving parts from the Accord itself,[9]
was approved and given the working title "Cog".

Pre-production

Gooden and Walker had been working together since 1988. By 2002, their portfolio included a

Chitty Chitty Bang Bang, and a 1987 Swiss art film by Peter Fischli and David Weiss, Der Lauf der Dinge (The Way Things Go).[9]

The Honda executives were intrigued, but demanded a cut using actual automotive parts before giving permission to go ahead with the full-scale project.[11] "Cog" was approved with a budget of £1 million, and Gooden & Walker recruited a London-based team to go through the logistics of the shoot in detail.[1] The team, which comprised engineers, special effects technicians, car designers and even a sculptor, spent a month working with parts from a disassembled Honda Accord before the design for the advertisement's set was even finalised.[9][12] Approval for the script took another month. Honda insisted that several specific Accord features, such as a door with a wing-mirror indicator and a rain-sensitive windscreen, appear in the final cut. The company planned to highlight these features in sales brochures.[13] Antoine Bardou-Jacquet was hired to direct the piece.[9] Bardou-Jacquet was mostly known for directing several award-winning music videos, including Alex Gopher's "The Child", Playgroup's "Number One", and Air's "How Does It Make You Feel".[14][15]

Filming

Bardou-Jacquet wanted to compose the advertisement with as little computer-generated imagery as possible, believing that the final product would be that much more appealing to its audience.[16] To this end, he set two months aside for the creation of hundreds[17] of conceptual drawings detailing various possible interactions between the parts, and a further four months for practical testing and development.[12] For the testing phase, the script was broken into small segments, each comprising only one or two interactions. Ideas deemed unworkable by the testing crew, such as airbag explosions and collisions between front and rear sections of the car, were abandoned,[9][17] and the remaining segments were slowly brought together until the full and final sequence was developed.[17]

The final cut of "Cog" consists of two continuous sixty-second dolly shots taken from a technocrane, stitched together later in post-production. (The stitching appears during the moment when the exhaust [muffler] rolls across the floor.)[18] Four days of filming were required to get these two shots, two days for each minute-long section.[17] Filming sessions lasted seven hours and the work was exacting, as some parts needed to be positioned with an accuracy of 1⁄16 inch (1.6 mm). Despite the detailed instructions derived from the testing period, small variations in ambient temperature, humidity and settling dust continually threw off the movement of the parts enough to end the sequence early. It took 90 minutes on the first day just to get the initial transmission bearing to roll correctly into the second.[19] Between testing and filming, it took approximately 100 takes to film the commercial. (Rumors about 606 takes were later debunked.)[20] The team commandeered two of Honda's six hand-assembled Accords—one to roll off the trailer at the end of the advertisement, the other to be stripped for parts.[2] While several sections of the early scripts had to be abandoned due to the total unavailability of certain Accord components, by the time production finished the accumulated spare parts filled two articulated lorries.[2]

Post-production

"Cog" needed only limited post-production work, as the decision had been made early on to eschew computer-generated imagery wherever possible. To further reduce the work required, "Barnsley", a specialist in the

The Mill, spent a lot of time on set during filming, where he advised the film crew on whether particular sections could be accomplished more easily by re-filming or by manipulating the image afterwards. Even so, the constant movement of the components on-camera made it difficult to achieve a seamless transition between the two 60-second shots. Several sections also required minor video editing, such as re-centering the frame to stay closer to the action, removal of wires, highlighting a spray of water, and adjusting the pace for dramatic purposes.[13][19]

Release and reception

Schedule

"Cog" was first aired on

The Daily Mirror.[16] The day after "Cog"'s debut, the Honda website received more hits than at any time in its history, and overnight became the second most-popular automotive website in the UK.[9]

The full 120-second version of the advertisement aired only 10 times in all,

behind-the-scenes footage of the production process, a virtual tour of the Accord, the original music video to "Rapper's Delight" by the Sugarhill Gang, and an illustrated guide to all the parts shown in "Cog".[27] The interactive 30-second versions of "Cog" proved hugely successful. More than 250,000 people used the menu option, spending an average of two-and-a-half minutes in the dedicated advertising area. A significant number watched the looped 120-second version for up to ten minutes. Of those who opened the menu, 10,000 requested either a DVD or a brochure, and Honda used the data collected from the interactive option to arrange a number of test drives.[28]

Expansion of the "Cog" campaign to a worldwide market was fraught with a number of logistical difficulties. The cost of airing a 120-second commercial proved prohibitive in most markets.[8] This combined with Honda's use of different advertising agencies in different regions and the relative autonomy of its various business units in marketing decisions,[1] meant that "Cog" screened in only a few selected markets: the United Kingdom, Sweden, and Australia;[19] and in cinemas in only a handful of other countries. For most markets, including the United States, the only way for audiences to see the piece was via the Internet, or in one of a handful of unsolicited and unpaid broadcasts on news channel review programmes.[8][29] Traffic to Honda websites quadrupled; in the first few weeks, "Cog" was downloaded by over a million people. By mid-May, the number was twice that.[30] It has been estimated that more people in the United States voluntarily chose to watch "Cog" than any other Honda commercial.[31]

In financial terms, "Cog" was an unprecedented success for Honda. The £32,000 spent on placements on the

BSkyB network alone achieved a greater response than a previous £1 million direct mailing campaign.[32] Sales of Honda vehicles in the United Kingdom jumped by 28 percent, despite lower marketing and public relations spending by the company and an increase in prices relative to competitors' vehicles. Visits to Honda dealerships rose from an average of 3,500 to 3,700 per month, with 22 percent of these resulting in the purchase of a Honda, compared to 19 percent before the campaign.[8] In all, "Cog" has been credited with increasing Honda's revenue by nearly £400m.[33]

Media reception

The media reaction to the advertisement was equally effusive;

Peter York described it as creating "the water-cooler ad conversation of the year",[22] while Quentin Letts of The Daily Telegraph believed it was "certain to become an advertising legend".[2]

Plagiarism accusations

Shortly after Cog appeared on television, Wieden+Kennedy received a letter from Peter Fischli and David Weiss, creators of the 1987 art film Der Lauf der Dinge. The film was well known in the advertising industry and its creators had been approached several times with offers for the right to use the concept, but had always declined. The letter pointed out several similarities between their work and "Cog", and warned the agency that they were considering legal action on the basis of the "commercialisation and simplification of the film's content and the false impression that [they] might have endorsed the use".[34] When interviewed by Creative Review magazine, the pair made clear that they wished they had been consulted on the advertisement, and that they would not have given permission if asked.[35] Media publications quickly picked up the story, and asserted that Fischli and Weiss were already in the process of litigation against the car manufacturer.[35][36][37]

Comparisons were made between the case and that of

Anticipation campaign for Guinness-brand stout.[4][38] The matter was complicated by the fact that Wieden+Kennedy acknowledged that the film had served as an "inspiration" for "Cog", and had distributed copies of the work to its script-writers.[16] Ultimately, Fischli and Weiss did not file a lawsuit against either Wieden+Kennedy or Honda UK.[9]

Awards

Despite the lingering shadow of these accusations, "Cog" drew an unprecedented amount of critical acclaim. It received more awards than any commercial in history;[14] so many that it was both the most-awarded commercial of 2004 and the 33rd-most-awarded commercial of 2003.[49][55] The jury for the British Television Advertising Awards gave the piece the highest score of any commercial ever recorded; the jury's chairman Charles Inge commented: "My own opinion is that this is the best commercial that I have seen for at least ten years."[43] After awarding "Cog" with several Silver awards, the president-elect of the D&AD Awards, Dick Powell, said of the piece: "It delights and entrances, [...] it communicates engineering quality and quality of thinking, and leaves you with a smile."[56]

Having swept the majority of award ceremonies within the advertising community to date, "Cog" was widely believed to be the favourite for the industry's top award, the Grand Prix at the

Cannes Lions International Advertising Festival.[17][57][58][59] Its chief competition was thought to be "Sheet Metal" for Saturn automobiles.[60] "Cog" held a disadvantage in that the chairman of the Cannes voting jury, Dan Wieden, was one of the founders of Wieden+Kennedy, the firm responsible for creating "Cog"; tradition holds that it is bad form for the chairman of the jury to vote for a piece by his or her own agency.[60]

The result at Cannes was a surprise; after the longest judging period in the festival's history,[59] the Grand Prix went to neither of the two event favourites. Instead, the jury awarded the prize to "Lamp", a U.S. advertisement directed by Spike Jonze for the IKEA chain of furniture stores. Voted second was a British ad, "Ear Tennis" for the Xbox video game console.[59] Chief among speculated reasons for the outcome was the plagiarism debate surrounding "Cog".[61] Ben Walker told Adweek "A couple of people on the jury told me the reason it didn't win is 'cause they didn't want to be seen to be awarding something which people in some corners had said we copied."[10]

Legacy

In advertising

The popularity and recognition received by "Cog" led a number of other companies to create pieces in a similar vein—either as homages, in parody, or simply to further explore the design space. The first of these was Just Works, a deliberate parody advertisement for the

Oscar-nominated short film Holiday Romance.[64] Honda refused to give WCRS permission to copy its advert, which, under Broadcast Advertising Clearance Centre guidelines, prevented either the 60- or 90-second Just Works spots from appearing on British television.[63] Instead, the ad was shown online and promoted virally.[65] Just Works went on to win a number of awards in its own right, including Golds in several categories at the British Television Advertising Awards and the Creative Circle Awards, a Silver Lion from the Cannes Lions International Advertising Festival, and a Bronze award from The One Club.[64]

In 2004, BBC Radio Manchester asked for and received permission from Wieden+Kennedy to produce a television advertisement in the style of "Cog" to advertise coverage of football events by local radio stations. The ad, which was directed by Reg Sanders and produced by Tracy Williams, shows pieces of sports equipment such as footballs and team shirts knocking into each other in sequence. In all, 65 versions were broadcast, each tailored to advertise the local BBC Radio station. Wieden+Kennedy were pleased to gain the extra publicity and Neil Christie, managing director of Wieden+Kennedy London, commented: "We are very happy that every time the BBC runs one of their adverts, the person who watches it thinks of Honda."[61]

Sugar Puffs,[61] Nearness for the Oslo School of Architecture and Design,[67] a 30-second animated advertisement for Heinz Tomato Ketchup, an advertisement for BBC Radio Merseyside football coverage, and the 2007 Tipping Point, advertising Guinness stout.[3][68] When asked about the similarities between "Cog" and "Tipping Point", Paul Brazier, executive creative director at the advertising agency behind Tipping Point, replied: "I knew the ad was similar in places, but as an executive creative director, you have to look at things like that and make a decision. The fact the TV ad was only part of a huge internet campaign meant that I thought it wasn’t that near "Cog"."[66]

Outside advertising

"Cog" has also inspired a number of other creative endeavours outside of the advertising industry, including an elaborate domino toppling world record attempt by Robin Weijers,[69] and a three-minute introductory trailer to the BBC show Bang Goes the Theory.[70] In 2004, the United States Coast Guard Training Centre in California requested permission to use the ad in its training regime as a demonstration of the importance of attention to detail.[71] Discussion of "Cog" as an example of the confluence of art and advertising, and as an example of inspiration versus plagiarism, has been ongoing. Mark Leckey included "Cog" as part of his video art installation "Cinema in the Round", in the Tate Britain gallery, London, in 2008.[72] It was also the focus of a panel discussion at the Tate Modern during a retrospective of Fischli & Weiss' work there in 2006.[73]

The next piece created by Wieden+Kennedy for Honda, Sense, advertised the company's "

Grrr. This time, it returned home triumphant,[75] defeating Singing in the rain for the Volkswagen Golf and Stella Artois' Pilot to bring home the top prize.[76] Antoine Bardou-Jacquet went on to direct two further Honda advertisements for Wieden+Kennedy. Choir, created with the help of fellow "Cog" team-members Ben Walker and Matt Gooden, was released in 2006,[77] and Problem Playground in 2008.[78]

References

  1. ^
    ISBN 978-0-7876-7356-7
    .
  2. ^ a b c d e f Letts, Quentin; "Lights! Camera! Retake!", The Daily Telegraph, 13 April 2003. Retrieved 19 July 2009.
  3. ^ a b Sweney, Mark; "Guinness ad topples record", The Guardian, 8 November 2007. Retrieved 29 March 2011.
  4. ^ a b "Honda 'cog' ad at centre of rip-off debate over 1987 film, Marketing, 27 May 2003. Retrieved 29 March 2011.
  5. ^ Rapper's Delight performed by The Sugarhill Gang - Pop Culture Cross-References and Connections on @POPisms, retrieved 23 November 2023
  6. ^ Manning, Jeff; "Mechanical Marvel", The Oregonian, 29 April 2003.
  7. ^ "Which brand has the best advertising? Honda", Creative Review, 22 September 2004.
  8. ^
    Business Horizons
    , Vol. 48, No. 2, March 2005, pp. 143–149.
  9. ^ a b c d e f g Wynne, Christopher; "Interview with Matt Gooden and Ben Walker", Advertising, 28 May 2004.
  10. ^ a b Parpis, Eleftheria; "Ben Walker On The Spot", Adweek, 21 June 2004. Retrieved 2 August 2009, via AllBusiness.com.
  11. ^ a b Anderson, Mae; "How to Sell a Strange Idea", Adweek, 14 July 2003. Retrieved 27 March 2011.
  12. ^ a b "The new Honda Accord – isn't it nice when things just... work?", The Guardian, 9 May 2003. Retrieved 2 September 2009.
  13. ^ a b c Lucas, Gavin; "Disassembly Line", Creative Review, 1 April 2003.
  14. ^ a b c "Profile: Antoine Bardou-Jacquet", Partizan. Retrieved 26 July 2009.
  15. ^ "Awards: Antoine Bardou-Jacquet", Partizan. Retrieved 2 August 2009.
  16. ^
    Animation: An Interdisciplinary Journal
    , July 2007 vol. 2 no. 2 pp. 187–201.
  17. ^ a b c d e Wakelin, Simon; "Cognizant kinetics Archived 17 February 2012 at the Wayback Machine", Boards, 1 June 2003. Retrieved 2 August 2009.
  18. ^ "Classic Ad: Honda ‘Cog’", The New York Times, 31 December 2009. Retrieved 13 March 2010.
  19. ^ a b c Boyer, Trevor; "Practical Motion", Millimeter, 1 August 2003.
  20. ^ "FEATURE: The Making of Honda 'Cog'". www.campaignlive.co.uk. Retrieved 20 January 2022.
  21. ^ "The Mill Promotes Flame Artist Barnsley to Board", Broadcast, 9 July 1999.
  22. ^
    York, Peter; "Click-Start: Honda's Chain Reaction is Poetry in Motion", The Independent
    , 13 April 2003. Retrieved 7 September 2009.
  23. ^ Cozens, Claire; Never work with cars, The Guardian, 15 April 2003. Retrieved 3 September 2009.
  24. ^ Christie, Michael; "Now that's a real motion picture", The Daily Record, 14 April 2003.
  25. ^ Whitehead, Jennifer; "Honda adds interactive element to epic £6m Accord ad", Brand Republic, 9 April 2003. Retrieved 3 September 2009.
  26. ^ "Ad of the Week: Honda's Stunner", The Daily Telegraph, 1 April 2003. Retrieved 3 September 2009.
  27. ^ Fera, Rae Ann; "An idea deconstructed for Honda Archived 17 February 2012 at the Wayback Machine", Boards, 9 April 2003. Retrieved 6 September 2009.
  28. ^ "Case Study: "Cog" Archived 28 August 2010 at the Wayback Machine", Thinkbox. Retrieved 3 September 2009.
  29. Cannes Lions International Advertising Festival
    (2003).
  30. ^ Battelle, John; "Downloading the future of TV advertising", Business 2.0, July 2003, p. 46.
  31. ISBN 978-0-471-71837-6
  32. ISBN 978-0-273-71387-6
  33. ISBN 978-0-470-68548-8
  34. ISBN 978-0-521-19343-6
  35. ^ a b Beard, Matthew; "Artists claim Honda copied their film in TV cog advert", The Independent, 28 May 2003. Retrieved 3 September 2009.
  36. ^ Cozens, Claire; "Spanner in the Works", The Guardian, 28 May 2003. Retrieved 3 September 2009.
  37. ^ Hazlehurst, Jeremy; "Art of the Big Steal[dead link‍]", The Times, 1 August 2003. Retrieved 3 September 2009.
  38. ^ "Mills, Dominic; Art for ad's sake is a copyright fight", The Daily Telegraph, 3 June 2003. Retrieved 3 September 2009.
  39. ^ Sweney, Mark; "Honda 'cog' takes top prize at Creative Circle", Campaign, 5 March 2004. Retrieved 26 July 2009.
  40. ^ a b c With Sense and Everyday.
  41. ISBN 978-0-7494-4762-5
  42. ^ Hicks, Robin; "Honda 'cog' and CHI take top trophies at BTAA honours night", Campaign, 12 March 2004. Retrieved 26 July 2009.
  43. ^ a b Inge, Charles; Inge, Clemmow Hornby; "The BTAA Awards 2004: Chairman's Foreword", Campaign, 12 March 2004. Retrieved 26 July 2009.
  44. ^ Editorial: "W&K's 'cog' brings home a Cannes gold", Campaign, 27 June 2003. Retrieved 26 July 2009.
  45. ^ "Clio Awards Archives Archived 13 August 2013 at the Wayback Machine", Clio Awards Authority, 2004. Retrieved 26 July 2009.
  46. ^ Sweney, Mark; "Honda 'cog' takes top prize at Creative Circle", Campaign, 5 March 2004. Retrieved 2 August 2009.
  47. ^ "Cresta Awards Archive: 2004 (Honda) Archived 24 March 2011 at the Wayback Machine", Cresta International Advertising Awards Authority, 2004. Retrieved 29 March 2011.
  48. ^ "D&AD Award Winners Archive: 2004", D&AD Awards Authority, 2004. Retrieved 29 March 2011.
  49. ^ a b Gunn, Donald; Wilkie, Emma; The Gunn Report and Showreel of the Year (6th edition), (Holbrook: FlaxmanWilkie, 2005)
  50. ^ "2004 GRANDY $50,000 Award Winner Archived 9 January 2010 at the Wayback Machine", International ANDY Awards, 2004. Retrieved 26 July 2009.
  51. ^ "2004 Awards Archived 7 March 2009 at the Wayback Machine", IPA Effectiveness Awards, 2004. Retrieved 26 July 2009.
  52. ^ IPA Effectiveness Awards 2004: Gold Award – The John Bartle Award", Campaign, 5 November 2004. Retrieved 26 July 2009.
  53. ^ "Winners and Finalists Archive 2003: TV and Cinema Archived 13 July 2011 at the Wayback Machine", London International Awards, 2003. Retrieved 26 July 2009.
  54. ^ "2004 Winners Showcase", The One Show, 2004. Retrieved 26 July 2009.
  55. ^ Gunn, Donald; Wilkie, Emma; The Gunn Report and Showreel of the Year (5th edition), (Holbrook: FlaxmanWilkie, 2004).
  56. ^ Macmillan, Gordon; "Cog denied D&AD gold as no black pencils are awarded" Brand Republic, 27 May 2004. Retrieved 6 September 2009.
  57. ^ Fera, Rae Ann; "Boards Cannes Predictions Archived 17 February 2012 at the Wayback Machine, Boards, 1 June 2003. Retrieved 6 September 2009.
  58. ^ Elliot, Stuart; "THE MEDIA BUSINESS: ADVERTISING – ADDENDA; Miami Agency Wins International Prize, The New York Times, 23 June 2003. Retrieved 6 September 2009.
  59. ^ a b c Cozens, Claire; "Cog slips into third place as Jonze ad triumphs at Cannes", The Guardian, 23 June 2003. Retrieved 6 September 2009.
  60. ^ a b Cozens, Claire; "British fingers crossed at Cannes", The Guardian, 20 June 2003. Retrieved 6 September 2009.
  61. ^ a b c Brook, Stephen; "BBC 'tribute' ad drives Honda forward", The Guardian, 20 September 2004. Retrieved 6 September 2009.
  62. ^ "Watch WCRS's spoof of Honda's 'cog' ad", Brand Republic, 20 June 2003. Retrieved 7 September 2009. (via Mediaweek).
  63. ^ a b Sweney, Mark; "Honda blocks airing of WCRSs spoof Cog ad", Campaign, 13 June 2003. Retrieved 7 September 2009.
  64. ^ a b Fera, Rae Ann; "10 more directors to watch Archived 19 August 2011 at the Wayback Machine", Boards, 1 October 2004. Retrieved 7 September 2009.
  65. ^ Whitehead, Jennifer; "The Number hires agency to redesign 118 118 site", Brand Republic, 11 July 2003. Retrieved 7 September 2009.
  66. ^ a b Bussey, Noel; "Advertising: is it just a load of cog and balls?", Campaign 15 February 2008. Retrieved 7 September 2009.
  67. ^ "Nearness", BERG blog, 15 September 2009. Retrieved 20 September 2009.
  68. ^ Lucas, Gavin; "Tipping Point: The Most Expensive Guinness Ad Ever Archived 18 January 2011 at the Wayback Machine", Creative Review, 8 November 2007. Retrieved 9 September 2009.
  69. ^ "'Dead' Dutchman will recreate Honda's 'cog' for true domino effect", Campaign, 19 September 2003. Retrieved 7 September 2009.
  70. ^ Wardrop, Murray; "Bang Goes The Theory: BBC braves potential disaster with live scientific experiments", The Telegraph, 14 July 2009. Retrieved 7 September 2009.
  71. ^ "USCG picks up on the training value of 'cog'", Campaign, 9 July 2004. Retrieved 7 September 2009.
  72. ^ Beale, Claire; Claire Beale On Advertising: The real art of an ad is to make more money", The Independent, 13 October 2008. Retrieved 7 September 2009.
  73. ^ Fineman, Mia; "Is this theft or homage?", The Scotsman, 16 July 2008. Retrieved 7 September 2009.
  74. ^ Eastwood, Allison; "Apres-cog Archived 17 February 2012 at the Wayback Machine", Boards, 3 July 2003. Retrieved 7 September 2009.
  75. ^ Fera, Rae Ann; "Cannes Roundup Archived 17 February 2012 at the Wayback Machine, Boards, 27 June 2005. Retrieved 7 September 2009.
  76. ^ "Honda 'grrr' poised to add Cannes Film Grand Prix to its awards haul", Campaign, 24 June 2005. Retrieved 7 September 2009.
  77. ^ "Honda 'choir' by Wieden & Kennedy", Campaign, 19 January 2006. Retrieved 7 September 2009.
  78. ^ "Honda, Problem Playground", Campaign, 4 February 2008. Retrieved 7 September 2009.
Cog
  • "Cog" – via W+K website
Derivatives
Preceded by Grand CLIO Award for Television/Cinema
2004 		Succeeded by
Grrr
Retrieved from "https://en.wikipedia.org/w/index.php?title=Cog_(advertisement)&oldid=1284366496"