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DfT Motorcycles Stage 2

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Title: DfT Motorcycles Stage 2


1
  • DfT Motorcycles Stage 2
  • Debrief
  • 04.09.09

2
CONTENTS
  • Background Objectives
  • The Story So Far
  • Guiding Principles
  • Scripts in Detail
  • Conclusions Recommendations

3
  • Background Objectives

4
In 2009, the DfT plans to launch a new
communications strategy aimed at both
motorcyclists and drivers
  • Background Objectives

The communications work will support
governmental targets to reduce the number of KSI
casualties 40 by 2010 Ongoing work has
already reduced the figure by 36 (2007) The
campaign will operate within a broad strategy
aimed at encouraging general respect and
consideration among drivers and motorcyclists
incorporating Education, Enforcement, and
Engineering
From 1994-8 average
  • Qualitative research (Phase 1) was completed to
    inform the strategic and creative development of
    the campaign

5
Communicating to road users about motorcycle KSIs
is critical to the success of government strategy
  • Background Objectives

Motorcycles make up only 1 of vehicles on the
road, but account for 20 of all road user deaths
Whilst there is a low awareness of motorcyclists
amongst drivers, drivers are involved in 79 of
motorcycle-related fatalities
  • A need to fully incorporate both drivers and
    motorcyclists

6
Previous communications have addressed these
issues by targeting motorcyclists and other
drivers separately
Background Objectives
In the past, drivers targeted through ATL
communications Take longer to look for
bikes Look out for each other
Motorcyclists reached via BTL work through
various organisations, including training bodies,
brand and event sponsorship, and partnership
marketing Save racing for the track Give
your bike the skills it deserves
There is a need to focus on multi-vehicle
incidents
  • The 2009 campaign aims to find a territory that
    will alter behaviour amongst BOTH motorcyclists
    and other road users

7
Background Objectives
The overall objective of finding the right
strategy to reduce motorcycling KSIs was split
over two phases of research
Phase 1 Assessing which strategic territories
and messages are most motivating amongst key
audiences, both individually and collectively
Phase 2 Creative development research of
scripts developed as a result of Phase 1
This debrief is the conclusion of Phase 2
8
In detail, PHASE 2 objectives
  • Background Objectives
  • Primary objective
  • Determine which creative route will be most
    effective at getting drivers and motorcyclists to
    take more precaution to avoid accidents. NB More
    than one route may be especially resonant with
    different typologies.
  • Secondary objectives
  • Communication - Explore credibility, clarity and
    persuasiveness
  • Appropriateness / resonance of tone and language
    of all creative ideas against for different
    groups / typologies
  • Which creative route provides best potential to
    deliver engagement distinctiveness, memorability
    and talkability
  • Relevance - Determine if creative routes are
    rejected by any of the groups and why
  • Get outs - To explore any areas of 'opt outs and
    problems of identification and how we can avoid
    this. Previous experience suggests for
    motorcyclists, this might include
  • Im skilled enough
  • Its not my type of bike
  • This only happens to someone else
  • Above all, we wanted to explore which ideas have
    the potential to change behaviour in the long term

9
We employed an iterative methodology
  • Background Objectives

Phase 1
Mining existing resources A review of existing
research
Deep dive sessions One-on-one and paired
consumer depths
Mini-groups Evaluating and evolving messaging
areas
Flamingo thinking Internal knowledge sharing
session
Online deep thinks Online bikers/drivers
journals
Develop Creative
Phase 2
Mini-groups Exploring and evaluating creative
work. Pre-interviews will give an independent
initial response.
10
  • The Story So Far

11
In Phase 1 of the research, we explored a range
of territories to identify the most resonant
insights
  • The Story So Far

We found that both driver and rider audiences
speak defensively about their own behaviour on
the road and the failings of other road users
More generalised territories around increasing
skills, visibility and even anticipation on the
road were not driving reappraisal
To penetrate beyond these defenses, we found it
was necessary to take awareness to a higher
level, where both parties view other road users
and the whole arena of danger with fresh eyes
Enhanced consciousness born out of deeper insight
into the perspective of other road users was
highly powerful
We therefore recommended See the road through
each others eyes as the strongest insight for
development
12
The emerging territory was born out of combined
strengths of several messaging territories
  • The Story So Far

HUMANISING THE OTHERIdentification Breaking
down ignorance, etc
SEE THE ROAD THROUGH OTHERS EYES New insight
into the challenges, dangers, etc Richer
understanding of behaviour
DEEPER AWARENESS ON THE ROADCognitive
conspicuity Better anticipation Less blame
A fresh way of thinking about the road can drive
higher awareness and change behaviour on the road
13
We recommended rooting this in a real, relatable
scenario, which the viewer recognises and can
change
  • The Story So Far

Humanising (beyond the road) applied to BOTH
parties
Greater cognitive conspicuity on the road
Switching perspectives
DEEPER AWARENESS Better understanding better
judgement and anticipation
A concrete scenario dramatising responsibility of
both sides
Deeper awareness of others perspective can
minimise the danger in such situations
14
For Phase 2, AMV developed 8 scripts
  • The Story So Far

These were Love, Split Screen, Driver/Rider,
Dancing, Faces, Reconstruction, Kid, and
Motorcyclists
We explored these in London with drivers and
Passionate High Performances riders
15
Several valuable learnings emerged from the
groups using the first set of scripts
  • The Story So Far

TONE
CONTENT
  • Strong generic expectations desire for
    impact/consequences/gore
  • Shock and surprise work well new news to drive
    reappraisal
  • Most feel that as a safety ad, it should be
    serious, and focus on consequences
  • Want to know what to do with information a
    call-to-action or safety message crucial
  • Humour can polarise
  • When used, humour should be deeply grounded in
    resonant insight
  • Plea from motorcyclists collectively emphasises
    car/rider divide and can make riders feel like a
    persecuted minority
  • Individual (personal) voices received openly
    Voice of authority (government) received
    defensively

Scripts such as Love, Kid, and Dancing, which
deviate too far from these expectations rejected,
as were more familiar ideas such as
Reconstruction
16
The stronger scripts were those that drove
reappraisal through engaging a deeper awareness
  • The Story So Far
  • The strongest script, Split Screen successfully
    dramatised the insight See the road through each
    others eyes with the effect of
  • This allows audience to judge situation (no
    blame, fair representation) and imagine the
    outcome
  • In contrast, other scripts instruct the audience
    on what to think, or how to understand the
    message can cause a defensive response and
    failed to connect across audience groups (indeed
    were sometimes highly alienating)

DEEPER AWARENESS ON THE ROADCognitive
conspicuity Better anticipation Less blame
  • These useful learnings were taken up for the
    remaining fieldwork with a new set of scripts
    reworked or newly developed

17
  • Guiding Principles

18
From both stages of research, we have generated
some guiding principlesThese are the result of
consistent reactions to scripts and comments on
messaging territories, which have become clear
through the research process
  • Guiding Principles

19
Show a shared road
  • Guiding Principles

Be fair dont allow blame
Show both perspectives
Keep the tone neutral and non-accusatory
Convert the insight into concrete road skills
Encourage empathy through realistic and relatable
situations
20
Anchor in real life real experiences
  • Guiding Principles

Humanise through realistic representation
Focus on individuals and real experiences
Viewers must relate to the situation and the
protagonists
Protagonists must have an everyman quality
Celebrities distract rather than further the cause
21
Make it personal
  • Guiding Principles

Individual stories feel true and powerful
Pushback against representation of tribes or
types of people
Viewers disassociate from stereotypes intimate
portraits resonate
Consequences evoke emotion
Impact on relationships/lives induces strong
response
22
Educate and instruct
  • Guiding Principles

Desire for more education around
motorcycling/driving
Motorcyclists see education as key often do
further qualifications
Many drivers unaware of rules for motorcycles on
the road (e.g. filtering)
Demand for education and instruction in DfT comms
Danger message not enough need
instruction/call-to-action
23
Represent the road
  • Guiding Principles

Education powerfully played out through visual
representation of the road
Viewers to connect to the experience, and can
relate
Works in tandem with education
Seeing road and hearing instruction, can
translate message to road
Ads can show consequences of not changing
behaviour on road
24
Go for impact
  • Guiding Principles

Novelty, surprise, shock
Impact required to secure message memorability
To change behaviour, need to go beyond
expectations drive reappraisal
Familiar situations/message not enough must feel
like new news
Ads must progress/build on message of previous
campaigns
25
Dont allow get-outs
  • Guiding Principles

The audience cant be allowed any room to
disassociate themselves
Situation and protagonists must feel real/close
to them
Message must feel aimed at them, or will ignore
Any sense of blame or unfairness, and will turn
off
Any loopholes in the message, the viewer will
take them
26
Dont obscure your message
  • Guiding Principles

Dont let any other messages interfere with core
message
Viewers easily distracted by other issues in ads
Have to clearly understand the message/aim of ad
Have to know exactly what to do with this
information
Root in safety this must be core takeout
27
  • The Scripts in Detail

28
Overview of response to scripts
  • Overview of response

In subsequent groups, we looked at six scripts
written to three core thoughts
See the road through each others eyes
What does it take to get us noticed?
Look out for each other
Faces Car vs. Motorcycle
Split screen eyes Stripped Car In Their Shoes
Named Rider
  • The strongest scripts are currently coming out of
    the thought See the road through each others
    eyes

29
See the road through each others eyes offers a
new perspective on the issues and drives
reappraisal
  • Overview of response

In their Shoes, offers the viewer a first person
perspective on the experience of the
insight Rider/driver Andy can and has seen the
road from both perspectives, knows the value of
the message and consequences of ignoring it, and
can instruct the audience on how to change
driving accordingly. Brings insight to life and
gives it relevance
Both Stripped Car and Split Screen Eyes visually
very powerful literal visual devices illustrate
the insight However, offers too literal a
translation of the insight can feel heavy
handed too arty divorced from reality of
road
IN CONTRAST
  • Although the insight is very powerful, has to be
    anchored in real life and the road have to know
    how to use it

30
The other three scripts have an awareness
message Look out for each other/What does it
take to get us noticed?
  • Overview of response
  • A strong message, but also a familiar one
    concerned that it lacks the novelty or impact to
    change behaviour does not really make people
    Think!
  • This is a particular concern in Faces and Car vs.
    Motorcycle, where the Look out for each other
    message is not tethered to particular situations
  • Despite success in other campaigns, without this
    anchor to direct relation to driving/riding
    experience message can be too emotive
  • Most drivers/riders think that they are already
    sufficiently aware need to be shown that they
    are not aware

31
Named Rider does achieve this to some extent
  • Overview of response
  • Script has potential to tap into a strong insight
    about motorcycles coming out of
    nowhere/drivers pulling out without looking,
    which emerges spontaneously in discussions with
    certain typologies (passionate high-performance/dr
    ivers especially)
  • Where the insight is powerful, this speaks
    strongly and humour well received
  • Real strength of script is vignettes depicting
    different situations on the road, which
    drivers/riders can relate to and crucially
    learn from
  • However, this script not currently working for
    all audiences, as well discuss later

32
Strongest script is In their Shoes
  • So, in summary

Shows a shared road, Anchors in real life real
experiences, Makes it personal, Represents the
road, Educates and instructs, Goes for impact,
Doesnt give any get outs, Doesnt obscure the
message
  • Split Screen Eyes and Stripped Car also have
    potential to bring this insight to life, but
    not in current form
  • Named Rider is a powerful idea, but there are
    several issues associated with script in its
    current format that would make it a risky option
  • We would not recommend going forward with either
    Faces or Car vs. Motorcycle
  • The following slides show how each script was
    working and which best achieve objectives

33
  • Car vs. Motorcycle

Car vs. Motorcycle
34
Few relate to Driver/Motorcyclist and therefore,
for most, lacks relevance and impact
  • Car vs. Motorcycle

DOES NOT Anchor in real life real
experiences Driving for most not about
competition or pleasure subconscious enjoyment
if any (relaxation, comfort, independence,
freedom) Only a small proportion of riders
identify (very motivating for some LAMR, some
PHP) Sense of competition head-on collision
feel unrealistic for most Make it personal Do
not relate to protagonists hard to care Educate
and instruct No sense of how to use information
on road Go for impact No crash or consequences
problematic for some
  • Serious safety message obscured by light-hearted
    tone of competition and unsympathetic
    protagonists and situation

35
  • Car vs. Motorcycle

It seems to be about perfect conditions, is that
really true to life though. These fantastic roads
and perfect conditions seem a little too good to
be true. Driver, 45-60, Cardiff
Pretty sure the car would come out on topYou
have the conscience of killing the rider, but
would the car really get that damaged .
Pragmatist Aspirant, 17-19, York
I like that at the end of it there is no
winner. You can have your arguments but head on
they are both going to die Look-at-me Rookies,
20-30, Cardiff
I think it is too arty. I think that is a cinema
advert for showing off. It is false in my eyes.
You are looking at a sports car here. Its not
comparing drivers to bikers, but sports car
drivers to bikers Pragmatist Rejecter, 25-44,
Birmingham
36
  • Faces

Faces
37
Although Faces has powerful emotional message for
many, hard to translate into behaviour on the road
  • Faces

DOES Anchor in real life real
experiences Faces to real deaths a powerful
visual reminder of consequences Make it
personal Wider consequences amongst loved ones
hits home to riders (pushes beyond
standard defence its a risk I choose to
take) Go for impact Strong emotional impact
(but not lasting?) DOES NOT Educate and
instruct/Represent the road No sense of how to
change behaviour on the road Not allow
get-outs Drivers distance themselves from
message does not feel directed at them
  • Lasting impact a worry might be moved watching
    it, but would put it out of their heads when
    riding/driving

38
  • Faces

Ive had accidents and it is kind of doing the
same thing, for a long time after you think
really carefully on the road Pragmatist Aspirant,
17-19, York
I thought it would be more than 493 to be honest.
You think of other statistics you hear where
there are hundreds of thousands dying from
something Look-at-me Rookies, 20-30, Cardiff
Watching it would make you slow down and think
more I think. But then once youd been on your
bike for an hour I think youd forget. When you
see an accident on the side of the road you do
slow down and worry but an hour or two later you
are back to normal Pragmatist Rejecter, 25-44,
Birmingham
The one thing I would say is that you dont
really know the families but you would feel sorry
for them deep down Pragmatist Aspirant, 17-19,
York
I think because you are focussing so much on the
motorbike visually with the motorcycle large in
the frame, some car drivers watching that may
just ignore it. Look-at-me Rookies, 20-30,
Cardiff
I feel like I would watch it once but then not
really think about it much. I dont know who
these people are the dead people, I think I
would relate it to my driving more if I saw the
accident Driver, 45-60, Cardiff
39
  • Named Rider

Named Rider
40
For some audiences, Named Rider a very powerful
script
  • Named Rider

DOES Show a shared road Even representation of
riders and drivers (although message targets
drivers, does also imply riders must be more
aware) Represent the road Core strength of ad
is representation of driving (and riding)
experience increases sense of identification and
impact of insight Educate and instruct Each
vignette offers corrective for dangerous
behaviour learning about blind spots and
hazards, dangers of being impulsive/inattentive Pr
ogresses the message from the DfT by assuming
knowledge of previous ads Take Longer to Look
for Bikes and junction ad, where this script
starts Make it personal Focus on drivers
expressions gives sense of identification Also
subtly but powerfully makes riders human through
names/expressions/relationships (love heart)
riders lose anonymity and alien character
through humorous representation
  • Educative vignettes and humanising highly
    engaging for those who relate to insights (esp.
    drivers/pragmatists)

41
However, some risks associated with this script
  • Named Rider

DOES NOT Anchor in real life real
experiences Although insights true for some,
silliness of neon can distract from message
about real situation If drivers dont identify
with insight, defensive about message Go for
impact No crash/consequences/conclusion some
worry safety message would not be memorable
Communicate clear message Neon makes some think
this is a message for riders to make selves more
visible with fluorescents - become defensive
because of exaggerated theme Humour distracting
(or even shocking) for some think serious issue
should be dealt with seriously no sense of
consequences
  • At best, a new voice for DfT unexpected,
    watchable, tongue in cheek, fun. However, major
    reservations around tone danger of obscuring
    serious safety message?

42
  • Named Rider

I think this takes the realism out of it, its
less personal and down to earth seems very
happy and cheerful Pragmatist Aspirant, 17-19,
York
It is quite a serious subject really. I dont
think it is really something to have a laugh and
a joke about really maybe you need something
more high impact. If you are sat at a junction
are you going to be thinking about a travelling
circus? Driver, 45-60, Cardiff
It is ridiculous but then it is also ridiculous
that car drivers dont see bikes it is
something that we struggle with every
day Pragmatist Rejecter, 25-44, Birmingham
I like that one, I like what they have done with
the humour and it also gives you situations on
the road - The driver taking another look, paying
a bit more attention, is very clever. Because you
can see yourself in the car just taking a bit
more care looking twice Driver, 20-28,
Birmingham
I think all car drivers are aware already that
they should notice motorcyclists, I dont think
there are many that are not aware that they need
to do it, but it would be sort of a humorous
general reminder, without that hard-hitting
bit Look-at-me Rookies, 20-30, Cardiff
They are people with lives and relationships. If
you hit them you will ruin their life Pragmatist
Aspirant, 17-19, York
43
  • Stripped Car

Stripped Car
44
Initially, Stripped Car is visually gripping and
engaging, upon further consideration response is
polarised
  • Stripped Car

DOES Go for impact Unique, new, entertaining
and surprising visual increase impact and
memorability Represent the road Insightful
representation of driving and riding experience
comfort and security of a car and exposure of a
motorcycle. Strengthens understanding of Seeing
the road through each others eyes Make it
personal Portrayal of motorcyclists experience
gives sense of identification to riders and
empathy to some drivers viewer has strong
connection with protagonist Show a shared
road Fair representation of driver and
motorcyclists perspective (although message
mainly targets drivers)
  • Intricate visual technique is highly engaging
    across target

45
However, distractions in this execution can allow
viewer to disassociate themselves from the
scenario
  • Stripped Car

DOES NOT Anchor in real life real
experiences Underlying insight is powerful, but
unrealistic scenario means some drivers struggle
to understand how seeing from motorcyclists
perspective will help or alter their driving
unclear what the take out should be in terms of
changing behaviour Convey clear message Core
message obscured by weather conditions portrayed.
Drivers think they are being warned to watch out
for motorcyclists in bad weather Educate and
instruct Depicted road scenario sends a broad
message to drivers (empathy), but fails to give
either side clear instructions that can be
applied on the road no clear call to action
  • Visually entertaining and unique, but lack of
    realism and distracting executional detail
    obscures message

46
  • Stripped Car

I think that one is also good it shows car
drivers what it is like to be on a bike. But it
also shows bikers who dont drive what it is like
to be in a car and how comfortable you
are Look-at-me Rookies, 20-30, Cardiff
Its reminding drivers that we have twice as much
to concentrate on and that they should appreciate
that and watch out for us in that
weather Pragmatist Rejecter, 25-44, Birmingham
But who is at fault there? I dont really feel
like there is anything to learn Pragmatist
Aspirant, 17-19, York
You being a driver, by seeing that ad you would
understand all the things that a biker has to
look out for like blinding car lights and
conditions, it would make you realise the other
side of the coin. Driver, 45-60, Cardiff
Puts you directly in their shoes and would make
you think twice. You would be careful and take
your foot off the gas and fall back a bit more.
Driver, 45-60, Cardiff
47
  • Split Screen Eyes

Split Screen Eyes
48
Split Screen Eyes is visually impactful and feels
fair and evenly balanced. A well liked execution
overall
  • Split Screen Eyes

DOES Show a shared road A literal but visually
powerful expression of through each others
eyes Fair representation of both perspectives
neutral on blame Visual technique can encourage
empathy (close-up eyes) Represent the
road Straight-forward and realistic scenario
allows drivers and motorcyclists to relate to the
experience Make it personal Eyes a powerful
tool to humanise motorcyclists and drivers and
evoke viewers empathy (showing fear, panic,
guilt)
  • Visually compelling execution has potential to
    communicate shared road in an impactful way

49
However, current narrative feels familiar and
doesnt have enough substance to encourage
reappraisal on the road
  • Split Screen Eyes

DOES NOT Go for impact Message is too familiar
and has not progressed from T-Junction ad not
offering new information No surprise, emotional
depth or strong impact makes message
forgettable to some. (Although, for minority,
imagination and subtlety can make the message
more personal) Educate and Instruct Narrative
doesnt offer new news Seeing the road through
each others eyes can feel lofty when left
without instruction on how to apply this insight
on the road Not obscure the message Strong
visual can overshadow the safety message Sense
that ending and consequence are missing (sirens,
crash, personal story)
  • Strong execution, but in present form lacks
    sufficient elements to attain potential impact

50
  • Split Screen Eyes

I think this one is quite fair to car drivers and
motorcyclists. They dont blame one, its fifty
fifty. that just makes you feel a little better
both of us need to look out Driver, 45-60,
Cardiff
I think that you need something more visual that
a car driver can relate to, can think about
doing. There is something more definite for you
to do Pragmatist Rejecter, 25-44, Birmingham
I like this but I think that the crash needs to
be more powerful, there needs to be more of an
impact at the end you to hear it, feel
it Look-at-me Rookies, 18-25, York
This has a very human aspect to it rather than a
mechanical one (Stripped Car). The pain and the
sheer terror on their faces as they are
approaching each other. Its human terror and
fear I think that could have an impact when you
see it Driver, 45-60, Cardiff
Its a nice tagline. It sticks in your mind. It
ties it together. But I would prefer to see
something more graphic. It would stay with you
more. Because you can distance yourself if it is
just frozen images. Because the advert where he
crashes into the window, you can see the effect
of it and it has more impact I think Driver,
20-28, Birmingham
51
  • In Their Shoes

In Their Shoes
52
In Their Shoes performs against all the guiding
principles, and fits with DfT strategy and
objectives
  • In Their Shoes

DOES Go for impact Ending gives shock,
surprise, memorability. Also encourages viewer to
rethink everything that has gone before Not
obscure message Very clear safety message about
how to behave, and consequences of not being
fully aware on the road Anchor in real life
real experiences Real person, not an actor very
impactful gives authority to voice advice
based on personal experience rather than
government message Make it personal Sense of
identification and familiarity with protagonist.
Unique position as both (retrospective) rider
and driver all targets can put selves in his
shoes
  • Convincingly humanises and offers a very personal
    perspective on what is at stake, causing
    reappraisal of issues

53
Moreover, the script additionally has several
very practical, educative dimensions
  • In Their Shoes

DOES Represent the road Gives potent realism
and impact to final scene, and also crucial to
educative role of the narrator. Viewer can put
themselves in his shoes and learn from the
driving experience in the ad Educate and
instruct Voice of protagonist as mentor, driving
instructor, wise man experience gives authority
as both rider and driver to instruct road users
on the danger Points out particularly dangerous
areas, gives instruction on how to behave Show a
shared road Sense of balance through
rider/driver narrator feels fair because
although it targets drivers to change behaviour,
it implicitly also urges riders to be aware
because of dangers Not allow get-outs Drivers
could inflict this riders could suffer it and
we are all human
  • Instruction, consequences and realism offer
    powerful formula for both memorability and
    changes in behaviour

54
  • In Their Shoes

Drivers realise that they have to look over their
shoulder more. there is always a blind spot with
motorcycles because we are narrower. Its making
them aware that you have to really look turning
left and all that sort of thing mirror, signal,
manoeuvre Pragmatist Rejecter, 25-44, Birmingham
If that is a guy that this actually happened to
then he is going to want to get the message out
there and if he wants to talk about it then
that is the main thing and I think it is
important for people to hear. It would bother you
my heart sank when you said that it would
have an impact Driver, 20-28, Birmingham
I think that is a brilliant advert that is the
whole thing, shocking and the twist at the end
it is going to last with me longer Look-at-me
Rookies, 20-30, Cardiff
I think it is very impactful, it makes you feel
sorry for the situation and worry about it, but I
do feel like I am being blamed a bit. Drivers,
45-65, Cardiff
I like that this is not so much about speed but
more about paying attention, having
skills Driver, 20-28, Birmingham
He really has credibility. He is wise and has
seen it from both sides he has been in both
situations Pragmatist Aspirant, 17-19, York
This one is really educational because it
illustrates all the places where you should look
out and be more careful brows of hills, cutting
corners etc. Look-at-me Rookies, 18-25, York
Pretty hard hitting, better than death. The real
life camera is quite personal Blair Witch style
adds to it, like a blog or whatever Look-at-me
Rookies, 18-25, York
55
  • The Way Forward

56
The DfT strategy for this campaign is to change
behaviour amongst drivers and riders in the long
term
  • The Way Forward
  • Phase 1 of the research recommended that the best
    way to achieve this was by encouraging deeper
    awareness on the road.
  • Deeper awareness was born out of territories in
    Phase 1 around humanising others on the road,
    and the insight see the road through each
    others eyes
  • Rather than heightened awareness from a single
    perspective (as rider, as driver etc), deeper
    awareness encompasses a greater understanding of
    all perspectives and issues on the road
  • To speak to both audiences and encourage
    reappraisal on the road, communications can use
    empathy as a tool to breed deeper awareness and
    avoid blame
  • We believe that a number of scripts have the
    potential to do this

57
To reach this deeper awareness, it is crucial
that messaging feels relatable and relevant to
both audiences
  • The Way Forward
  • Currently only some of the executions
    successfully achieving this. In content, tone,
    and imagery, ads must feel real, and relevant to
    the experience of the viewer
  • Content viewer must be able to imagine scenario
    Driver vs. Motorcyclist head-on collision
    implausible whereas T-junction Split Screen works
    well and relate to protagonists Driver vs.
    Motorcyclist protagonists disliked by many feel
    close to Andy
  • Imagery Stripped Car Named Riders suffer from
    fantasy visuals distract from safety message
    in contrast, real documentary style of In their
    Shoes very powerful
  • Tone voice of a group or authority less powerful
    than that of an individual human voice plea from
    motorcyclists in Named Rider less motivating than
    that of the individual with experience of
    consequences in In their Shoes use of humour
    seems to polarise, and risks alienating some
    audiences
  • As a result, certain scripts currently performing
    better against objectives than others

58
  • The Way Forward

MOST ON-ROAD REAPPRAISAL
In their Shoes
Named Riders
Split Screen
Stripped Car
MOST RESONANCE
LEAST RESONANCE
Faces
Motorcyclist/Rider
LEAST ON-ROAD REAPPRAISAL
59
Our recommendation would be to take In Their
Shoes forward
  • The Way Forward
  • In Their Shoes is highly engaging, motivating,
    and the most successful script at generating
    deeper awareness amongst both riders and
    drivers
  • Enormously effective at humanising, through a
    real person, speaking with authority, who all can
    relate to, as both rider and driver. Avoids an
    emotional plea for recognition (as in earlier
    scripts) his story and his disability is just a
    fact
  • Disrupts expectations, with real potential for
    talkability (and not seemingly a quick wear-out
    ad after the initial surprise)
  • Really dramatises See the road through each
    others eyes through his experience of both
    sides the thought is fundamental to the ad
    though there is some feeling that the line itself
    is a bit long as an endline
  • An advertising idea with considerable potential
    to drive reappraisal for all targets

60
However, we understand that there may be
difficulties for the agency in making In Their
Shoes, and believe other executions can be
optimised if necessary
  • The Way Forward

61
These 3 scripts also suggest potential with
optimisation
  • The Way Forward
  • SPLIT SCREEN - on strategy currently too
    safe/familiar for real impact
  • Different road scenario (need for new news not
    T Junction again education)
  • Sense of consequences (even if not directly
    represented need at least a hint e.g. sirens)
  • STRIPPED CAR creatively strong, impactful
    insufficient call to action
  • Need for more education clear scenario with
    learnings/implications
  • Remove distracting elements weather currently
    too dominant
  • Cant feel too glossy/cinematic needs to be
    raw/real/unnerving
  • NAMED RIDER captures relevant scenarios, new
    DfT voice, but humour would need very careful
    treatment
  • Humour needs to be disrupted by
    consequences/serious safety message
  • Ensure message not limited to awareness
  • With optimisation, these scripts could deliver
    higher levels of on road reappraisal and perform
    against objectives

62
  • The End

63
  • Appendix
  • Scripts, Recruitment Details

64
In their shoes
  • Scripts
  • In this ad we would feature a car driver driving
    around the roads where he lives talking about
    how, although he has been a car driver for over
    twenty years he always tries to keep an eye out
    for motorcyclists. He would illustrate the areas
    where he takes special care at T-junctions, when
    overtaking, when turning left etc. The ad would
    be shot for real, in a very hand held,
    documentary style and would feature a real
    person, not an actor. We would se him taking care
    around motorcycle riders and occasionally waving
    at one as it whizzes past. We see from the look
    on his face that he likes them.
  •  
  • ANDY (driving) Ive been driving for over 20
    years now. Mainly round here. The roads are quite
    busy. Especially in the city centre. I always try
    to keep a good lookout for motorcycle riders.
    Specially the young lads. T-Junctions are always
    the most dangerous places. Always take a second
    look there. And when Im overtaking.
    Mirror,signal, manouvre. And when Im turning
    left. Just in case theyre coming up on the
    inside. I always try to put myself in their
    shoes.
  •  
  • The guy pulls up outside his house. He swings
    open the door. We realize that he doesnt have
    the use of his legs. We watch him as he gets his
    wheelchair out of the car and then levers himself
    into it. Its difficult but he doesnt complain.
    Hes very matter of fact. He continues his
    sentence.
  •  
  • ANDYI just wish the car driver that hit me had
    done the same.
  •  
  • THINK!

65
Named Rider
  • Scripts
  • In this ad we set out to increase the visibility
    of all motorcycle riders on the road whilst at
    the same time humanizing them in the eyes of car
    drivers.
  • We would film the ad over a period of time, from
    late afternoon to evening on a fairly dull day.
  • We open the ad from the point of view of a car
    driver who is about to pull out of a T-Junction
    onto a very busy main road. He looks up and down
    the road waiting for a gap in the traffic. He
    looks right and then left and then right again.
    As he starts to pull out we see that there is a
    motorcycle coming toward him that he has failed
    to see. We all fear the worst. Its the classic
    accident scenario, but just as he starts to pull
    out he looks down the road once again, something
    has caught his eye. Its the motorcycle. It is
    now lit up like a mobile Vegas neon sign. A mans
    name (Gary) is glowing red above the biker and a
    series of neon arrows flashing vertically draws
    our eyes to the motorcyclist as he zooms past.
    The motorcyclist smiles. The car driver watches
    him go past with his mouth open in surprise.
  •  
  • We then cut to another road. Its a duel
    carriageway. We see up ahead a car about to pull
    out and overtake a car in front but at the last
    moment before he pulls out something makes him
    stop and reconsider. He looks in his rear view
    mirror which is lit up like a juke box. He looks
    astonished as a motorcycle comes past him with
    enough neon lights on it to power Blackpool
    illuminations. A gigantic heart shape flashes on
    and off. There are two people on the motorcycle.
    They smile as they come past. Two names are lit
    up in yellow and blue. (TrevorSandra) in the
    middle of the heart.
  •  
  • We follow a car as it makes its way along a
    narrow winding road. There are other cars on the
    road traveling in both directions and we see that
    the driver is tempted to take a chance and over
    take. However he is dissuaded from doing so as he
    becomes aware of what he at first must assume is
    a traveling circus coming in the other direction.
    It isnt. Its Brian Thompson going home on his
    motorcycle. We know its Brian because his name is
    flashing on and off in a display of moving neon
    lights fanning out like a peacocks tail around
    him.
  • We show as many different motorcyclists as we can
    as the night draws in, each one has an inventive
    neon way of telling us who they are, from a biker
    who has a thousand tiny neon Neils dangling
    from every part of his helmet, jacket and
    trousers, to Kev who has kindly spelt his name
    in reverse at the front and normally at the back
    so that motorists ahead can read his name
    correctly in their mirrors.
  •  
  • At the end of the ad we see very quick cuts of
    eight different words on different motorcycles
    that make a sentence. They read
  •  
  • WHAT DOES IT TAKE TO GET US NOTICED? THINK!

66
Splitscreen Eyes
  • Scripts
  • In this ad we use a split screen technique.
  •  
  • In half the screen is the car drivers face and
    in the other half of the screen is the
    motorcyclists face. We show them in close up as
    they move along a road on a collision course with
    each other.
  •  
  • As they get closer together their two heads
    become one (one half of the face is the drivers,
    the other half is the motorcyclists.)
  •  
  • We move in closer and closer to their eyes to see
    their respective views.
  •  
  • It is only in the last few seconds that we see in
    the reflection in their eyes - a car pulling out
    of a T-junction in the motorcyclists eye - and
    the reflection of a motorcyclist that is
    approaching fast in the car drivers eye.
  •  
  • At the moment of impact, when its too late to
    alter course, the picture ends with the frozen
    images of the car and the motorcycle in the
    retinas of the eyes.
  •  
  • We cut to black and see a caption and hear a
    voiceover. The voiceover is spoken by both the
    motorcyclist and the car driver at the same time.
  •  
  • We see a caption and hear a voiceover say
  •  
  • See the road through each others eyes. THINK!

67
Stripped Car
  • Scripts
  • In this ad we see a car driver happily driving
    down the road. We see him smiling. Its raining
    outside and getting dark but the car driver isnt
    bothered, hes nice and warm in his car, the
    heaters on, the radios playing, a big sixteen
    wheeler lorry steams past, spraying water and
    blocking his windscreen but he isnt too bothered
    he merely ups the speed of his windscreen wipers
    and turns the radio up.
  •  
  • However, suddenly the exterior of his car is
    stripped away leaving him completely exposed to
    the elements. Hes still in his driving seat but
    hes just sitting on the chassis. The passenger
    seats disappear. The wind and the rain are
    driving into his face now. He wipes his glasses.
    Hes cold now and he doesnt look quite so
    comfortable. The left hand side of the car now
    splits in two. Hes on two wheels. Suddenly he
    doesnt feel quite so stable anymore either. He
    sees the break lights of the lorry up ahead and
    moves to overtake. The bright lights of another
    car approaching blind him. We hear the long
    sustained bleat of a car horn. We cut to the
    worried expression on his face. The noise and the
    lights and the rain all begin to blur.
  •  
  • We cut to an end frame and a line.
  •  
  • SEE THE ROAD THROUGH EACH OTHERS EYES. THINK!

68
New Faces
  • Scripts
  • In this ad we would shoot a person riding a
    motorcycle along an ordinary road at dusk. The
    camera would be fixed in position on the front of
    the motorcycle so that we are in a close up of
    the motorcyclists head and shoulders and
    handlebars. We will therefore be aware of the
    scenery moving past all around the motorcyclist
    but his head will be in a fixed position, quite
    large in frame.
  • As the motorcyclist rides along we would project
    life sized pictures of the faces of some of the
    of people that were killed riding motorcycles
    last year, onto the face and helmet of the rider.
    (Obviously this is a very sensitive area and
    would require the consent of the relatives and
    loved ones of the people who have died) As they
    talk it would appear that the dead people would
    be talking. Each of them would explain very
    briefly who they were and how they came to die. 
  • 1st person Craig Lomax. Riding too fast. Lost
    control.
  •  
  • 2nd person Gary Priest. Car pulled out in front
    of me.
  •  
  • 3rd person Cheryl Miles. I misjudged a corner.
  •  
  • 4th person Paul Johnson. Car didnt see me .
  •  
  • 5th person Mervyn Frome. Went into a lorry.
  •  
  • 6th person Mel Springett. Went under a car.
  • As we continue to see the faces change and hear
    the voices we see some type appear on screen. It
    reads.
  • These are just some of the 493 people that lost
    their lives in motorcycle accidents last
    yeartheir friends and loved ones will never see
    their faces again. Look out for each other. THINK!

69
Car vs Bike
  • Scripts
  • In this advert we feature two people in close up.
    ( using a locked off camera so that their faces
    are in the same position all the time, enabling a
    seamless cut) They talk to camera as they drive
    along. One of them is a car driver. The other is
    a motorcycle rider. Each of them is extolling the
    virtues, delights and sheer pleasure that they
    get from their choice of transport and each is
    convinced that in a direct head to head theirs is
    the better choice. We would cut from one face to
    the other, rapidly and seamlessly. We see the joy
    on each of their faces as they experience their
    drive.
  • Car driver. Ah the joys of the open road. (we see
    him zooming happily down a fantastic road in a
    sports car)
  • Motorcyclist. The wind in your face. ( we see the
    motorcyclist smiling as he motors along a
    fantastic road )
  • Car driver. The wind in your hair (we see him
    smiling with the roof down)
  • Motorcyclist. The joy of the traffic jam. (we see
    him easily breezing through a four mile line of
    cars.
  • Car driver. The thrill of the rain.( we see him
    happily turning his windscreen wipers on in a
    torrential downpour, he looks at a motorcyclist
    and
  • smiles.)
  • Motorcyclist. Just you and your motorcycle. (we
    see him taking some really cool bends.)
  • Car driver. And your girlfriend. (we see him
    sitting alongside a
  • gorgeous girl.)
  • Motorcyclist. And your girlfriend.( not to be
    outdone, we see a girl riding pillion pop her
    head around his.)
  • Car driver. Ah the joys of the car. (we see the
    car driver smile contentedly as he moves up the
    gears.)
  • Motorcyclist. Ah the joys of the motorcycle. (we
    see him accelerate)
  • At that moment we see both of their faces freeze
    in horror and we hear the sound of breaks
    followed by silence. We cut to an end frame.
  • When it comes to a direct head to head
    confrontation
  • between motorcycles and cars.
  • There are no winners.
  •  

70
Phase 2 sample8 x 2-hour mini-groups
  • Recruitment Detais

71
Recruitment Criteria
  • Recruitment Details
  • All motorcyclist groups to be screened for
    seasonality of riding behaviour
  • Passionate high-performance cluster (Disciples
    40, Hobbyists 60)
  • Demographic Aged 30-50, likely to be married
  • Approach to safety Prefer riding with full gear
    including armour (but not necessarily leather)
    for protection
  • Attitudinal beliefs and behaviours
  • Disciples (40) value bike power, belonging and
    camaraderie, the challenge of riding and feeling
    at one with the machine. They ride all year round
    for business and pleasure
  • Hobbyists (60) value sensations of the ride e.g.
    noise, vibrations, sound, smells but are not
    interested in camaraderie / belonging mentality.
    Mainly riding in the summer for pleasure on their
    own
  • Both sub-groups likely to be riding predominantly
    on rural roads
  • Bike relationship Riding sports bikes 500cc
    (Disciples riding bigger bikes 700cc). All also
    own cars.
  • Pragmatists (Aspirants 50, Rejecters 50)
  • Demographic
  • Aspirants aged 19 or under, living with parents
  • Rejecters aged under 44, Pragmatist groups should
    contain minimum of 2 Rejecter females
  • Approach to safety Riding in gear more for
    weather than crash protection
  • Attitudinal beliefs and behaviours
  • Aspirants (50) Ride primarily because they have
    no access to alternative personal transport
    (would drive a car if old or rich enough)
  • Rejecters (50) Enjoy the freedom of 2 wheeled
    transport, low fuel costs, convenient parking,
    not relying on others

72
Recruitment Criteria
  • Recruitment Details
  • Look at me rookies
  • Demographic Under 25s, likely to be still living
    with parents
  • Approach to safety More concerned about how they
    look than wearing the safest clothing (most
    likely group to entertain idea of just riding in
    a t-shirt)
  • Attitudinal beliefs and behaviours
  • Are confident riders an show a great deal of
    enthusiasm for looking good to themselves and
    others (looking cool), demonstrating skills
    often compare themselves to others on the road
  • Riding all year round for all kinds of riding and
    mainly on urban roads but not exclusively
  • Bike relationship Ride a wide variety of bikes
    but likely to be smaller than 500cc and bigger
    than 50cc
  • Drivers
  • A spread of ages and lifestages
  • A spectrum of car types to be owned
  • Regularly driving a variety of routes
  • A mix of those predominantly driving on urban
    routes and those predominantly driving on rural
    routes
  • None to have a family member, friend or close
    colleague who is a motorcyclist

73
Recruitment Criteria, continued
  • Recruitment Details
  • Motorcyclists
  • None to know anyone else in the group, not part
    of the same club or friends on the same street
    etc.
  • Lifestages
  • Groups to contain a mix of lifestages where
    possible
  • Urban and rural
  • All respondents screened for predominant roads
    used to ensure a spread across the sample
  • Groups to contain a mix or urban and rural road
    use, skewed to typology
  • Seasonality for Motorcycle sample
  • See specific seasonality stipulations for certain
    typologies. For other typologies, we would
    screen for seasonal riding to ensure there is a
    mix of both year-round and summer only, but would
    not place an exact quota on this.
  • All respondents
  • To be bright, articulate and open minded

74
  • Quality Statement
  • All projects are conducted in compliance with ISO
    20252
  • All persons interviewed for this project have
    been paid a monetary incentive as agreed with our
    approved partner research agency
  • All interviews were conducted as per the approved
    discussion flow (guide) document
  • All interviewers / moderators working on this
    project are fully approved in the area of
    qualitative market research
  • All qualitative results should not be projected
    onto the overall population

75
  • Participants were recruited for this study via
    telephone / face-to-face / list recruitment
  • The number of participants in each group was as
    follows
  • Group 1 7 respondents
  • Group 2 7 respondents
  • Group 3 7 respondents
  • Group 4 7 respondents
  • Group 5 8 respondents
  • Group 6 7 respondents
  • Group 7 6 respondents
  • Group 8 7 respondents
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