| Title | DOORS OF THRONES |
| Brand | TOURISM IRELAND |
| Product/Service | TOURISM |
| Category |
B05. Use of Ambient Media: Large Scale |
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Entrant
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PUBLICIS LONDON, UNITED KINGDOM
|
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Idea Creation
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PUBLICIS LONDON, UNITED KINGDOM
|
|
Media Placement
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PUBLICIS LONDON, UNITED KINGDOM
|
|
PR
|
PUBLICIS LONDON, UNITED KINGDOM
|
|
Production
|
PUBLICIS LONDON, UNITED KINGDOM
|
Credits
| Leo Bellis-Jones |
Publicis London |
Copywriter |
| Josh Norbury |
Publicis London |
Art Director |
| Alex Buckland |
Publicis London |
Account Director |
| Ben Mckee |
Publicis London |
Account Manager |
| Pavlos Themistocleous |
Publicis London |
Creative Director |
| Dave Monk |
Publicis London |
Creative Director |
| Mark Wesley |
Publicis London |
Head of Image Production |
| Joy Desseigne |
Publicis London |
Account Executive |
| Duncan Rogers |
Publicis London |
Designer |
| Rachel Haines |
Publicis London |
Digital Producer |
| Kal Parmar |
Publicis London |
Producer |
| Iain Macarthur |
Publicis London |
Illustrator |
| Sam Dunn |
Publicis London |
Illustrator |
| Steve Mitchell |
Publicis London |
Illustrator |
| Joanna Malecka |
Publicis London |
Illustrator |
| Alice Duke |
Publicis London |
Illustrator |
| Kieran McKay |
Publicis London |
Illustrator |
| Compain Samuel |
Publicis London |
Illustrator |
| Radd Nadesananthan |
Publicis London |
Social Media Strategist |
| Andrew Stewart |
Subfish |
Director |
The Campaign
Over ten weeks, we transformed the trees that fell that day into 10 beautifully carved bespoke doors, each depicting an episode from GoT season 6.
Every week a new door was installed at the beating heart of a Northern Irish community – the local pub of a GoT filming location.
Together they form an epic pub-crawl through season 6 that circles the entire country.
We turned a devastated tourist destination into a brand new one.
The trail is a pilgrimage for fans around the world to follow, and a permanent fixture embedded in Northern Irish Culture.
Campaign Success
To create the stunning doors, world-class illustrators reacted to episodes and sketched out designs based on that week’s plot line.
Once the illustrators had worked their magic, the designs were sent to a CGI artist who interpreted the sketches into in 3D. These were given to a specialist woodworker who carved the designs using a CNC machine. The doors were then stained by a set designer, hung in pubs near filming locations of significance to the storyline, and photographed before being unveiled to the public.
All of this happened in a week, every week, for 10 weeks. This mammoth undertaking involved a team of highly skilled people seamlessly working together on a scale none of us had attempted before.
Describe the success of the promotion with both client and consumer including some quantifiable results
Tourism Ireland became a welcome part in worldwide Game of Thrones culture.
For 10 weeks, fans were actively seeking out our content. They tried to guess where the next door would appear, they worked together to decipher the meaning of the designs, and they shared it far and wide within their community.
But most importantly, the Game of Thrones pub-crawl is now a pilgrimage for Game of Thrones fans around the world.
One of the pubs has even reported a doubling of profits since the trail was completed.
MTV: “The Irish Game of Thrones pub crawl is literally everything”
Cosmopolitan: “You NEED to know about this Game of Thrones pub crawl”
ITV News: “These doors are part of Game of Thrones history”
126,000,000 People Reached
17,876,088 Views
1,821,486 Likes
Explain why the method of promotion was most relevant to the product or service
Our target audience, Game of Thrones fans, generate a huge amount of content.
Simply presenting our message wouldn’t be enough to get through to this tightknit group and stand out from all the other media they consume.
Instead, we had to bring our message to life, and get fans to engage with our campaign both online and physically in person.
The rugged yet beautiful Northern Irish countryside provides the perfect backdrop for the mythical land of Westeros. We want to position Northern Ireland as the home to Game of Thrones.
But the show’s fans generate so much content online, that anything passive we produced risked being drowned out.
This community is also notoriously critical of brands attempting to piggyback on the show’s popularity. So advertising through traditional media was ruled out.
Instead we aimed to engage fans with our message in a new and unexpected way, and produce something that they would actively want to be a part of, long after the campaign itself had ended.
When the battered tourist attraction made headlines around the world, it allowed us to draw attention to other filming locations across the country.