Drumstick’s ‘Classic’ Campaign Captures Australian Culture With Sharp Humour
Drumstick’s ‘Classic’ campaign, created by SICKDOGWOLFMAN and The Producers, playfully taps into quintessentially Australian moments – like swearing off Punt Rd or showing off Spanish pronunciations – to cement its status as a cultural staple.
Featuring a bold, one-word brand platform, the campaign spans a launch film, digital content, and over 20 contextual OOH executions, including bespoke activations for its new ‘Saucy’ range.
Directed by The Producers’ Mitch Kennedy, the campaign sought to blend nostalgia with contemporary humour to reinforce Drumstick’s enduring appeal as Australia's number-one ice cream cone.
Mitch Kennedy and SDWM creative director Jess Wheeler spoke to LBB’s Tom Loudon about capturing uniquely Australian moments, blending simplicity with precise comedic timing, and utilising practical effects for authenticity.
LBB> What was the process of developing and creating the ‘Classic’ campaign for Drumstick?
Mitch> To me the core of what the SDWM guys had was those relatable, off-the-cuff moments that we all get as Aussies. Moments that would be totally random to anyone not Aussie, but we all get without having to spell it out.
It needed to be sharp, to the point – no one likes a gum flapper – and embrace a dry sense of humour that heightens how relatable these scenarios are.
Jess> It’s funny, everyone working on this campaign has said that they never realised how often they and other Aussies say ‘classic’ until now.
In meetings, presentations, on set, and without any hint of irony, it was guaranteed someone would say ‘classic’ to someone or something at some point. It’s a fun part of Australiana that feels right for a brand like Drumstick to capture.
LBB> The whole campaign, including the OOH, feels like it’s hard-wired into the Australian psyche. How did you ensure an authentic connection to Australian culture?
Jess> This was definitely a data-driven geo-targeted campaign – in the sense that we’re human beings who grew up in Australia. It was all just a gut feeling and personal experience.
We wrote pages and pages and pages of lines, and then you just try them out on friends and family and see what resonates. That’s about as complicated as this needs to be a lot of the time.
Mitch> The films are like a one off simple moving billboard. Simply give people a moment they can connect with, give them the product, give them a laugh and then get the hell out of dodge.
LBB> Mitch, you were directed to not ‘over direct’ – is that difficult for someone in your role?
Mitch> Sometimes doing less can be way more compelling with a simple concept like this, especially when you’re dealing with a short format like 15’s.
To be fair, all the dinosaur chases and VFX action sequences on my reel could imply I don't tend to go small with a script – guilty.
I know a lot of directors have a really set style of filmmaking, but I'm passionate about adapting to the idea or script. Using my individual taste and approach to storytelling to dictate how we shoot an ad.
We knew we wanted to use as few shots as possible. At a point, the spots were going to be a one-er, but I loved the idea of creating humour through surprise with a couple of simple cuts, having control in the edit of how we pace the reveal of what the bloody hell is going on in each scene.
Jess> Mitch was adamant that we constantly move through the scene with a tracking vehicle whilst capturing everything in one take. He’d just finished watching 1917. “This is how Deakins would do it!” he kept shouting.
No, in all seriousness, with comedy, it’s often the case that less is more, and it was absolutely so with these spots. Drumstick. Classic. Funny scene. Classic. We needed the brutal simplicity of thought that comes through in the OOH to do the same in film. And even though these were 15s, we still wanted space and time for the dry comedy to land. Plus, a little reprise with each. We’re super happy with where they ended up, and Mitch is a genuinely collaborative director.
LBB> Can you tell us about how you approached spinning a Drumstick?
Mitch> There was an urge to sweat the details when it came to the rip and somehow make it energetic, exciting, yet seemingly effortless.
It was also important for all of us to find a way to engage the audience in the most delicious (yet brainwashing way) from the very start of the ad. It's cool that a lot of people comment on that rip really grabbing their attention.
Jess> The rip was all Mitch. It was great thinking on multiple levels. ‘Opening on the brand/product’ has become a modern advertising imperative, but the catch-22 is that it signals to viewers that THIS IS AN AD - which isn’t always the greatest way to capture people’s attention. The new rip not only does the job of being faster and more dynamic, it just looks cool. It’s a great way to open a spot with branding and product that doesn’t feel forced.
LBB> How did you get a whole beach to drop out of a kid's swimming trunks?
Mitch> I'm a real nerd when it comes to effects and loves finding ways to blend practical and post. Since I wanted to take the metaphorical nature of the dialogue and make it visually literal, I always felt the sand needed to be real and not a 3D simulation.
After testing a whole bunch of ideas at the warehouse, we ended up with the ‘Smuggler’ rig, concealing a number of hidden compartments of sand attached to the boys' bodies - I cast identical twins to take turns.
We rigged the whole thing with different pull releases so my head of SFX Clint and grip Dean could control the pouring like a couple of puppeteers. Ryan at Manimal then helped sell the believability with some VFX love.
Jess> Practical effects are always fun and look better – when they work.
It’s funny, over the years, no matter how good tech gets, no matter how advanced post and VFX become, the best filmmakers still seem to think, “How can we do this in camera?” first.
It not only sets a great foundation for Ryan to build on in the post, but it genuinely helps with performance on the day. There’s actually sand pouring out of the kids’ boardies. We’re not all just standing around pretending.
LBB> What’s coming next for Drumstick?
Jess> We’ve just released the second spot, ‘Texting Dad’, shot in the same format, and we’re looking forward to building on this platform for years to come. It’s a lot of fun to write to.
