Visa

Visa

I worked on Visa from the pitch that won the busi­ness until the account left the agency twen­ty years lat­er. Over that time Visa’s mar­ket share expand­ed from 43.8 per­cent to 52 per­cent and agency billings went from $20 mil­lion to $340 mil­lion. Along the way our group col­lect­ed many of the indus­try’s most pres­ti­gious awards, includ­ing EFFIEs, Clios, and Cannes Lions.

I worked on a few trav­el­ogue spots in the clas­sic “It’s Every­where You Want to Be” cam­paign, but the major­i­ty were for the Visa Check Card (they’re called deb­it cards now). The over­ar­ch­ing strat­e­gy was the card’s speed, con­ve­nience, and accep­tance over checks. About 32 mil­lion Amer­i­cans car­ried a Visa Check Card when it was intro­duced in 1995; ten years lat­er that num­ber was 167 mil­lion. The cam­paign won two Effies.

Here are some of the spots I co-cre­at­ed that were suc­cess­ful met­ri­cal­ly and creatively.

Visa Check Card  | “Sheen”

Checks are a has­sle for mer­chants and cus­tomers. Days might pass before a mer­chant is alert­ed that a check has bounced or is fraud­u­lent. Not only will he lose mon­ey on a ser­vice or prod­uct, but he is also hit with a fee from the bank. So to pro­tect them­selves, they ask for forms of I.D. and even call the bank.

We thought about the time lost while a store­keep­er vet­ted your check, and our first notion was to show a cus­tomer aging while the clerk ran var­i­ous cred­it checks. We felt that using make-up or spe­cial effects would be obvi­ous and unimag­i­na­tive. Then we hit on the uni­ver­sal truth that chil­dren often turn into their par­ents. To car­ry the con­cept, it was nec­es­sary to use celebri­ty pairs. We looked into Michael and Kirk Dou­glas; Jer­ry and Ben Stiller; and Joan and Melis­sa Rivers. They were each dis­count­ed for var­i­ous rea­sons, but we got the right com­bi­na­tion with Char­lie and Mar­tin Sheen

This spot could have been on the Super Bowl, but Visa could­n’t wait to release it. TIME mag­a­zine called it, “The com­mer­cial equiv­a­lent of noth­ing but net.” It got a lot of press, won mul­ti­ple awards, and was nom­i­nat­ed for an Emmy.

Visa Check Card Zero Liability | “Rooftop”

The Visa Check Card was the first to intro­duced Zero Lia­bil­i­ty: you’re not liable for unau­tho­rized pur­chas­es made with lost or stolen cards, and the mon­ey is restored to your bank account regard­less of your balance.

This made us think about real­ly wealthy card­hold­ers with a lot to pro­tect. After toy­ing with a few gross­ly over­paid ath­letes, we set­tled on Cen­tral Cast­ing’s “bil­lion­aire,” Don­ald J. Trump. Since no celebri­ty got off easy in a Visa com­mer­cial, we want­ed Trump to learn the hard way about the card’s secu­ri­ty fea­tures. (This spot was offi­cial­ly called “Rooftop,” but inter­nal­ly we called it “Trump­ster.”)

Trump lat­er called this his favorite com­mer­cial  and added, “the abil­i­ty to laugh at myself keeps my per­spec­tive intact and makes peo­ple real­ize that I’m a com­plex per­son, con­cerned about more than just ambi­tion.” LOL.

Sat­ur­day Night Live ref­er­enced the spot in a skit about Trump film­ing a cheesy Hal­loween pro­mo for The Appren­tice. Here’s an excerpt:

Visa Check Card | “Nigel”

Because some mer­chants won’t even take checks, we thought about some­one left in a predica­ment because they could­n’t pay for some­thing essen­tial. We did­n’t want to start with the failed pur­chase, but save it for the reveal. This led to a “What’s going on” exe­cu­tion as a man stands still while passers­by react and fail to dis­tract him.

By the way, this was not filmed in Lon­don, but in the shad­ow of anoth­er “palace,” Aaron Spelling’s 123 room man­sion in Holm­by Hills.

The spot ranked in the Top 5 in indus­try polls, and 15th on USA Today’s Super Bowl Ad Meter.

Visa Check Card | “Yao”

Sev­en-foot-five Yao Ming was some­thing of a mys­tery when he was picked first by the Hous­ton Rock­et in the NBA draft. This spot helped intro­duce him to U.S. audi­ences in a humor­ous way.

Since I am an Abbott and Costel­lo afi­ciona­do, I’m hap­py we cap­tured the con­fu­sion and rapid-fire rhythm of “Who’s On First?” (The Piz­za Hut “Deion and Jer­ry” spot also feels like a straight man-com­ic exchange.)

For the tag we con­sid­ered using cel­list Yo-Yo Ma, but decid­ed that the beloved Yogi Berra was a much bet­ter, fun­nier payoff.

The spot ran on the Super Bowl and placed 16th on USA Today’s Ad Meter but much high­er in indus­try polls. Yao was haunt­ed by this spot wher­ev­er he played. Fans called out “Yo! Yao!” (Peo­ple called him Yao in Amer­i­ca but he had always been called Ming in Chi­na.) He is the first and only play­er from the Peo­ple’s Repub­lic of Chi­na to be induct­ed into the bas­ket­ball Hall of Fame.

Visa NFL | “Music”

This assign­ment com­bined Visa’s Check Card strat­e­gy with its NFL spon­sor­ship. The right music can make all the dif­fer­ence – in sports and film.

We went through many, many songs to find the right one, which had to be the polar oppo­site of a sta­di­um anthem. We lis­tened to clas­si­cal music, chil­dren’s songs, and John­ny Math­is before land­ing on this one. It paid off, because this spot won an award for…Best Use of Music.

Visa Olympics | “Synchronized Commercialism”

A celebri­ty in a Visa spot is always self-dep­re­cat­ing. Here, Visa is no excep­tion as we poked fun at “offi­cial Olympic sponsorship.”

The girls real­ly did the stunt at the end; no CGI involved. This spot was shot and direct­ed by David Cor­nell, and is in the Muse­um of Mod­ern Art.