How LNER’s Mascot Puppet Put On a Show-Stopping Performance
It’s no secret that whatever you can do on the train, you won’t be able to in a car. If you’re embarking on a long-haul train journey, you can usually sit back, relax, watch some TV and have a beer - enjoy the simple pleasures of the in-between spaces. That’s surely not the case in a car, though.
LNER, the rail company that operates on the East Coast Mainline, knows this better than anyone, and has channelled this knowledge into their latest campaign created by director Tom Kuntz and M&C Saatchi. Dubbed ‘Freedom All The Way’, the ad features LNER’s first ever mascot - the puppet Eleanor, a play on the brand’s name.
Inspired by Fatboy Slim’s track ‘Weapon of Choice’, in the spot we see Eleanor jumping, dancing and enjoying the LNER customer joys on one of the East Coast trains, telling us about the endless possibilities that come with choosing the more sustainable travel option. With Eleanor’s hair matching the seats almost to perfection, easy going attitude and show-stopping performance, Eleanor becomes LNER’s most recognisable ambassador.
LBB’s Zoe Antonov spoke to Sam Turk and Paul Robbins, senior creatives at M&C Saatchi, to find out more about the making and meaning of the campaign.
LBB> What was the ideation process for this campaign like and how did you approach the brief?
Sam & Paul> The process was great. A simple brief: Compared to driving, you can do what you want on a train. The client wanted brand love and fame, so we just started playing.
We had a bunch of ideas that did it in different ways, but the very last slide was just a picture from the ‘Weapon of Choice’ music video with the lyrics “You can go with this. You can go with that.” We didn’t even have to explain the slide. Matt Lee (our executive creative director) was already dancing in his chair like Christopher Walken.
LBB> What made you choose this track and why was it important for the campaign? How did it inspire the creative idea?
Sam & Paul> The track was the starting point. We loved that the lyrics did all the hard work for us, we just had to show people on a train enjoying themselves and the lyrics, “You can go with this. You can go with that” did the rest. We also love the iconic Spike Jonze music video with Christopher Walken, so it was easy for everyone to picture the cool performance too.
LBB> When did you know you'd want a mascot involved and particularly a puppet? Why?
Sam & Paul> The mascot was actually the last piece of the puzzle. We always knew we wanted a likeable performance at the centre of the ad, so we chatted about celebrities. But they’re a pricey bunch, and it felt a bit limiting. So as soon as the idea of a puppet came up it just felt right for the energy. Like all good ideas, the character grew legs (or had them sewn on), and soon, she had become the centre of the whole campaign.
LBB> Tell me more about the name Eleanor (the puppet) and why you chose that name, what did it mean for the brand?
Sam & Paul> It’s not too deep, Eleanor is simply a fun play on the LNER name. There were a few other names on the table, it was like naming the new class pet. We tried them on for size and Eleanor just stuck.
LBB> And who created Eleanor? Tell me more about her character design process.
Sam & Paul> It was a really collaborative process all around. Matt, Paul and I knew the personality, attitude and swagger we wanted, and we had some classic felt puppet references that we liked too. Tom Kuntz and MJZ ran with that brief, iterating and designing. Then, Talk to The Hand Puppets started to make her. The whole thing was like going to Build-A-Bear with very talented people. I thought we’d all be talking for weeks about every single eyelash, but throughout the process, the client was great and always on the same page, so when she came together and her personality came through, everyone just agreed.
LBB> Tell me more about Eleanor's choreography. Was it difficult to execute and what kind of challenges came with that?
Sam & Paul> The initial choreography came from the attitude and swagger we wanted, we didn’t want it to be too try-hard. The rest came from Tom Kuntz and the puppeteers. Tom kept pushing and challenging them until they did things they’d never done before. Many times, the puppeteers knew just the look or gesture to lift the performance. Like a pop promo, the puppet had to be in sync with the track and hit her mark, so the rehearsals were essential.
We always wanted her to feel real, with all the charming puppetry movement goodness everyone knows and loves. So, as far as the puppet went, the only post production was removing the three puppeteers operating her. It was a shame they had to go, watching them work was amazing.
LBB> Tell me about the tagline, "Freedom all the way," and what it encompasses?
Sam & Paul> We want people to think about their train journey as free time to be enjoyed. “Freedom all the way” points to the freedom you get on board a train, compared to driving. You can read a book, watch ‘The Traitors’, have a G&T with elevenses and even go for a wee. It’s “All the way”, from the moment you set off, to the moment you arrive, and “All the way” as in maximum. You can do anything on a train, within reason, and within the law. So, enjoy!
LBB> What were the most fun parts of creating the campaign?
Sam & Paul> It has to be the puppeteers, they’re supremely talented and equally hard-working. They bring inanimate things to life before your eyes. Watching anyone who’s a master of their trade is a joy, but when they’re contorted in a strange position with their hand in a puppet's bum, it’s even better. That’s the magic of cinema.
