A Rebellious Goldfish Can't Learn New Tricks in Current Account Switch Spot

Is it a dog? Is it a fish?....or perhaps a bit of both? Spike is in fact the new, slightly shy aquatic hero of the latest campaign for Current Account Switch Service that will be seen in fish tanks across all social platforms, TV and cinema.

Armoury Films collaborated with the lovely folks over at and House337 and the directing expertise of the ever so talented Henry Littlechild, to create Spike the rebellious goldfish, showing little to no enthusiasm at the prospect of learning some traits more typically associated with canines, much to the frustration of his over-exuberant owner.

Q> What stood out as your favourite element when you first approached this creative? Did this change at all during the production/shooting/post process?

Henry> The opportunity to design and create Spike, the fish. This was a really fun process - working with Grant Bonser on concepts, then watching his designs come alive. 

Q> What were the main things that influenced your approach to casting for this one?

Henry> The casting process was great and whilst I wouldn’t use the word easy, we had a lot of good people walk in the room. Then, with call backs, Tijan, our actor, delivered a performance that wouldn’t allow us to pick somebody else. He smashed it. 

Q> What was the biggest technical challenge in this shoot? 

Henry> It wasn’t so very technical but as we decided on an in-camera approach, it was important how we shot Spike the fish, as there wasn’t anywhere to hide with this

Q> Can you talk us through some of the ways you injected this creative with your signature style?

Henry> Performance, comic timing, art direction and aiming to do as much as possible in camera. 

Q> What did you enjoy about working with the creatives on this?

Henry> I really enjoyed working with the production designer Ada, in Sofia. The set was pretty much an open brief. So we created an interesting space with little dog lover clues sprinkled throughout. 

Q> Can you tell us a bit about how Spike came to be?

Henry> It was a collaboration - it started in the treatment with a bunch of different ideas, then concept designs, then he was carved in clay before being cast in silicone. This gave him a translucent rubbery quality.

Q> What were some of the key considerations leading up to the shoot due to all the post-requirements?

Henry> The post provided a final sheen of what was shot in-camera. So the pressure came earlier to get as much as possible in the can. 

Q> Fave moment?

Henry> A tie between lunch and breakfast.