This month marks the launch of a landmark UK brand campaign by Merlin Entertainments, the global leader in branded entertainment destinations. Known for iconic attractions like Alton Towers Resort, LEGOLAND® Windsor Resort, the lastminute.com London Eye, and Madame Tussauds, Merlin Entertainments aims to bring memorable joy to families across the UK this summer.
The campaign, crafted by TBWAMCR with media planning and buying by Wavemaker UK, unifies Merlin’s diverse attractions under a single identity, promoting generous offers and accessible fun for all.
In this exclusive interview, Lisa Nichols, Executive Creative Director at TBWAMCR, discusses the vision and creative process behind this transformative campaign. Nichols sheds light on how the campaign encourages families to embrace the joy of summer, despite budget constraints, with 50% off kids’ tickets at indoor attractions and £19 tickets at major theme parks.
She also shares insights into the creative strategies that highlight Merlin’s commitment to providing unforgettable experiences and ensuring that every family can say ‘yes’ to fun this summer. Join us as Nichols delves into the inspiration and goals behind bringing Merlin Entertainments' magical experiences to life.
What was the brief?
Merlin Entertainments is the masterbrand behind attractions including Alton Towers Resort, LEGOLAND® Windsor Resort, the lastminute.com, London Eye and Madame Tussauds. But people don’t know it.
We were tasked with raising awareness around Summer being Merlin’s Christmas. However, with the cost of living crisis a lot of families are having to be very selective on what they spend and are having to say no more than they do yes. Some are even choosing a takeaway over a day out.
We wanted to position Merlin as the home of memorable joy this summer by showcasing their generous great fun deals and the joy their attractions bring to families.
How did the initial pitch/brainstorming phase go?
It was all about helping families to say yes to fun this summer. We started playing with the power of yes and contrasting it with having to say no but it felt too negative.
We quickly moved on to find an insight that captured the positive emotional benefit that could connect what it means for parents and their kids. After all there is no better time to be a kid than summer.
What was the production process like?
In one word, quick! We had seven locations in four shoot days, from Manchester to Staffordshire to Central London and out to Chessington and Windsor. We presented the first offline the day after the final shoot day and had seven working days to finish and dispatch the campaign.
What was the biggest challenge during production? How did you overcome it?
Time was our number one challenge, especially considering the geography of locations, the variety of the attractions (all open to the public on filming days), kids hours, rigging rollercoasters and filming on the London Eye that never stops in only two cycles, to name but a few.
The list is longer. But, a positive, collaborative team dedicated to this project from the Director, production company, agency and client made it possible. And enjoyable.
What kit/tools/software were used to create the project?
A whole mix of specialist kit was needed to capture the variety and pace of each attraction and ultimately bring the idea to life.
This included low loaders, so we could film the car scenes around the streets of Windsor, using drones to capture the sweeping wide shots, complex rigging of rollercoasters to get our ‘up close’ reaction shots and shooting from pod to pod on the London Eye.
What’s the main message of this project and why does it matter?
Standing on the edge of Summer can be a daunting time for parents, but the opportunity to make joyous and fun moments with your kids can last a lifetime.
How long did it take from inception to delivery?
A frightening 9 weeks.
Can you describe the creative spark or inspiration behind the initial concept? Was there a specific moment or insight that ignited the idea?
Kids’ imaginations are a wonderful thing. But nothing beats the real thing.
Most theme park ads just focus on your journey on the actual roller coaster. But we dramatised the journey leading up to it too, emotively showing kids acting out the rides and attractions at home in the hope that mum and dad might let them experience it all for real this summer.
With more parents than ever being able to say yes to their kids’ dream days out, we then brought to life all those uplifting moments of joy in the park, with rides, rollercoasters and attractions shot from imaginative angles to create a truly exhilarating AV experience.
Can you discuss any collaborative or interdisciplinary aspects of the ideation process, such as working with other departments or external partners?
We worked very closely with the media agency Wavemaker to define the strategy and then ensure that the media choices amplified the idea.
Credit list for the work?
- Executive creative directors Lisa Nichols Gary Fawcett
- Senior copywriter Sam Rutter
- Senior art director Jason Chadwick
- Head of client partnerships Mark Bostock
- Head of strategy Hayley Sivner
- Head of production Lou Vasey
- Production company Chief Productions
- Director Yoni Weisberg
- Producer Nick Crossley
