Behind Rightmove’s Faithful Slow Motion Slam Dunk
Moving might just about be one of the most stressful processes there is, but it also holds the promise of new beginnings. Rightmove, the UK’s most visited online platform dedicated to helping movers find their perfect new place, knows this better than anyone.
When you need to rent out a new flat or are looking to buy, Rightmove is always the first port of call. That’s why the brand’s new campaign in collaboration with neverland and SMUGGLER isn’t about raising awareness - it’s about giving customers a reason to engage with it on a deeper level.
The platform was launched alongside a major multimedia campaign, consisting of a 60’’ TV spot and beautiful out-of-home shots by Sam Wright.
Rightmove’s TV spot follows the journey of a father and son moving to a new neighbourhood. Despite the trials and tribulations of the move, dad has found time and space to install a basketball ring for his son. In the 60 second run time, we see him attempt a faithful slam dunk, in slow motion.
As the son soars through the sky, the new neighbourhood kids watch on. In a cinematic moment accompanied by Blur’s ‘Song 2’ and a dramatic voiceover, we see him fail miserably. Then, the moment of hope follows - his neighbours take the ball and start a game, allowing the dad to take a breath of relief as he watches on.
LBB’s Zoe Antonov speaks to executive creative director at neverland, Noel Bunting, about the meaning behind the slow-mo moment and why it was the perfect way to depict the stress of choosing a new home.
LBB> Tell me about the brief for this campaign and the initial ideation process behind it.
Noel> Rightmove is one of the UK’s best known brands and most visited online platform, so this wasn’t about raising awareness. Our task was to give people a reason to engage with us more frequently and on a deeper level.
People’s relationships with where they live and when they move is no longer the classic linear path (if it ever really was). Finding the right place to live is about much more than just metres squared, so we wanted to tell the story of a moving journey that hadn’t been seen in advertising before and show the nuances behind why people pick their new home.
LBB> What is your relationship with Rightmove like and how involved were they creatively in the conception of the campaign?
Noel> We believe in mutual trust between client and agency, and this trust begins in the chemistry meeting. So from the very beginning, it felt like we were all on the same team. We let them in on each stage of the creative process so that things could keep moving forward at the pace it needed to.
LBB> Tell me about the brand's new platform being launched through this campaign and what it means in a broader context.
Noel> Rightmove’s new platform is all about the power of belief.
In a market and process that is full of uncertainty, Rightmove gives people the confidence, tools and expertise to make a successful move - whatever and wherever that is for them.
LBB> Why was a quiet neighbourhood setting the best one for the TVC and why did you decide to put the focus on such a niche moment like this?
Noel> Moving is such a big life change, but the moments that make it feel like home are the smaller ones. The dad in our story wants the reassurance that he made the right decision for him and his son, and a big part of this relies on how the neighbourhood kids react to the missed dunk. It might seem like a niche moment, but it carries a significant weight.
LBB> What was the significance of having the TVC almost entirely in slow motion and was that the idea from the very start?
Noel> That was definitely the idea from the start. We wanted to lean into sports cliches and make the viewer think that the big, powerful voiceover was talking about the dunk. In reality, it’s referring to the move. So doing the first half in slow motion adds to the misdirect.
LBB> Tell me about the small details we see throughout - such as the ice cream falling - and how important they were to create a comedic yet natural setting.
Noel> You have to believe that he’s going to make this jump, so part of pulling this off was through the supporting characters and their individual amazement. We wanted the onlookers to be doing something they might already be doing on an average day – taking out the bins, watering plants, etc. Nothing that would distract from the main event but just add some ‘oomph’ to the scene. Also, if you’re shooting in slow motion, there has to be movement in the shot otherwise, it looks like a still. Hence the ice cream, bin, and bike falling.
LBB> What was the casting like and why was the talent your perfect main character?
Noel> It was a relatively short casting process, but we got lucky because the first boy to walk into the room ended up being cast as the lead. He stole our hearts with his genuine charm (and genuine basketball skills). This was his first acting role, and we were all amazed at how natural he was.
LBB> What was the location scouting like and how did you set on this particular location?
Noel> When you move into a new home, it’s as much about the neighbourhood as it is about the actual house. So when choosing the location, we wanted to make sure viewers got a sense of the broader area. It had to be undeniably British, but not in a forgettable, throwaway sense. We were drawn to the unique architecture of the hero house, but it also felt ‘normal’ enough that viewers wouldn’t question where or why.
LBB> Tell me about the script and narration during the slow motion moment.
Noel> You want the viewer to be drawn into the dunk, because usually when a brand tells you to believe something, it’s big lofty bullshit. This isn’t that, this is just belief in yourself, so the misdirection is key. You need to think it’s about the dunk, but it’s all about the dad’s ability to facilitate space for a hoop.
LBB> How many times did the jump take?
Noel> Since we shot the dunk so many times from so many different angles, we genuinely lost count, but it’s probably in the dozens.
LBB> Tell me about the rest of the assets of the campaign and their weight. The photography combined with the copywriting is brilliant - how did you reach that final look?
Noel> We went through quite a few iterations of the OOH before agreeing on a full-bleed photography approach. We wanted these assets to be as confident as the film - not over-designing them adds to that confidence. We also continued the misdirect approach, giving consumers something enjoyable to look at without doing too much hand holding.
LBB> What was the most fun moment of the campaign creation?
Noel> The shoot. Always the shoot. When you’ve got a world-renowned commercial director (Adam Berg) and an Oscar-winning cinematographer (Linus Sandgren), how could those three days not be the highlight? The second most fun moment was the first viewing of the edit. Usually, this is when I’m the most nervous, but in this case I knew it was going to be good.
