The latest in Allan Gray’s catalogue of ads, Everything Comes Around is a black and white film that portrays the life of a jazz musician from the late 40s whose commitment to his craft is unwavering, even as musical trends come and go.
Image supplied. The latest in Allan Gray’s catalogue of ads, Everything comes around
His patience is rewarded with a triumphant comeback.
As with Allan Gray’s previous ads, the film tells the story of time through a human lens and lands the message that investing takes time – something that Allan Gray has consistently reinforced over its 50-year history.
Zwelethu Nkosi, head of marketing at Allan Gray says, “‘Everything Comes Around was specifically conceptualised to commemorate Allan Gray’s 50 years of investing”.
The power of stories
He says it is a continuation of the brand story they have told since they started their advertising journey.
“We continue to use advertising to communicate our investment philosophy, beliefs and approach by telling human stories that make investing accessible, relatable and inclusive.
“As a brand, we believe in the power of stories to capture the minds and imaginations of audiences.”
An eye on the future
Accenture Song executive creative director, Graeme Jenner says Everything comes around’ deliberately leans towards the future.
“It was important, especially on Allan Gray’s 50th anniversary, for the brand not to just look back at its milestones, but to keep an eye on the future and all the potential that’s yet to be realised.’
Not matching luggage
It is a fully integrated campaign, but it’s not ‘matching luggage’.
The theme of ‘time being the greatest gift of all’ is what holds the campaign together across radio, magazines, newspapers, out-of-home, digital and social media.
While both the client and agency were keen on local talent, Jenner shares that casting was not limited to South Africa.
Happily, when director Sam Coleman from Patriot Films presented his preferred cast, the selected lead, Aubrey Mogale, was from Johannesburg.
Ads set out to give goosebumps
Instead of a busy musical score, a sparse piano and vocal piece by local artist Muzi was used to create a mournful but simultaneously hopeful soundtrack to our man’s journey.
Jenner says, “All the best Allan Gray ads set out to give goosebumps, and that’s deliberate; a piece of communication that resonates with you emotionally is always going to be more memorable and create an affinity to the brand.
“Allan Gray’s stories about time always touch a heartstrings because time is the one thing that none of us can get more of. So, it’s deeply personal to every single one of us.”
He continues, “A production of this scale requires a shared vision – trust, open dialogue and collaboration between the agency, client and production house. You need to all be pulling in the same direction to get it over the line.”
Nkosi adds to this. “When investing, whether as an investment manager or client, one needs commitment, skill and patience. These are the qualities displayed by the lead character.
“Most importantly, one also needs time.
“This film reinforces our core belief in the value of time. It can be incredibly difficult to stay the course when the markets test you and investment trends come and go, but over the last five decades we have learnt how essential and rewarding conviction and perseverance are when it comes to building long-term wealth.”
The ad was filmed in Cape Town but set in New York.
Brand representative (Client): Zwelethu Nkosi, Allan Gray – head of marketing
Agency: Accenture Song
Agency chief creative officer: Matt Ross
Agency executive creative director: Graeme Jenner
Agency creative director: Harry Mackenzie
Agency managing director: Lesego Kotane
Agency account management: Sheri Goldberg (Business Unit Director), Robyn-Lee Patience (Account Director)
Agency art director: Nethaam Abrahams (Creative Group Head)
Agency writer: Graeme Jenner (Executive Creative Director), Harry Mackenzie (Creative Director), Mncedi Kunene (Creative Group Head)
Agency head of integrated producers: Riska Emeran
Film production company: Patriot Films
Film director: Sam Coleman
Film executive producer: Zayd Halim
Film producer: Boris Vossgatter
Film line producer: Lauren Dugmore
Film production manager: James Savage
Film production coordinator: Monica Anne
Film talent coordinator: Tammith Hattingh
Film DOP: Rory O’Grady
Film 1st AD: Tony Tex
Film 2nd AD: Jaco Nel
Film trinity operator: Jo Oosthuizen
Film focus puller: Jason Musgrave
Film loader: Ruth Armstrong
Film B cam operator: Josh Marais
Film DIT / VT: Rusty Ruthven
Film gaffer: Nick Rankin
Film best boy lights: Quintin Pretorius
Film production designer: Mike Berg
Film set decorator: Este Kira Opperman
Film prop master: John Trafford
Film construction: Marc Bussack
Film scenic artist: Meridian Berndt
Film carpenter: William Scarborough
Film costume designer: Elton Campbell
Film H&MU & prosthetics: Clinton Smith (Cosmesis)
Film wig specialist & prosthetics: Dalene Badenhorst
Film hair & make up: Juanette Visser & Tash Du Toit
Film action vehicles coordinator: Andri van Niekerk
Film BTS photographer: Jonathan Kope
Post-production company: Priest Post Production
Post-production editor: Matthew Swanepoel
Post-production producers: Michelle Duvenage & Cal Kingwill
VFX post production
Post-production company: The Refinery
Post-production company supervisors: Rory Mark & Eddie Addinall
Post-production company visual effects producer: Simone Fanti
Post-production company 3D artists: Petrus Louw, Alex Hall & Ashley Hall
Post-production company visual effect artists: Edward Addinall, Tlou Mathapo, Douw van Niekerk, Daniel de Jager, Dries du Preez
Post-production company colourist: Kyle Stroebel
Post-production company colour assist: Abdul-Ghakeem Samaai
Post-production company producer: Nthabiseng Dlamini
Track Sondela Forever by Muzi
Trumpet instructors: Niel Engel & Lee Thompson
Lead: Aubrey Mogale
Media agency: PHD
Media planner/strategist: Bonnie du Plessis