Hasta La Motion!

Australian insurance company AAMI has responded to complaints about a squealing recorder with a new version of the latest Not Very Insurancy commercial. Launched in late November 2015, the AAMI Not Very Insurancey advertising campaign shows the AAMI girl and her colleagues running a high tech command station and then heading out into the world to help customers with their car, home, travel, business and income protection insurance, along with weather alerts. The latest ad in the campaign shows a young girl playing recorder (very badly) while her parents wait for the AAMI roadside assistance. AAMI has now provided a version more friendly to the ears, with the tune, Frère Jacques”.

AAMI’s post on Facebook is most apologetic. “A sincere ‘Thanks’ to everyone who took the time to let us know what you thought about our latest ad (even those Tweets suggesting our ad team be retrenched ‪#‎Gulp‬). We’ve listened to your feedback, so, rather than insisting you wait for what’s coming up we thought you’d like to know we’re airing this slightly different version from today. Apologies for all the battered eardrums and howling dogs out there! ‪#‎PracticeMakesPerfect‬ ‪#‎BringingTheRecorderBack‬ ‪#‎Sorry‬ ‪#‎PleaseDontFireUs‬”. See the Squealing Recorder version, and the Frère Jacques version.

See the original campaign from November 2015 here with the extended cinematic advertisement.

See the Llama commercial promoting the access app, released in March 2016, and Aunty Rita, promoting income insurance, released in June 2016.

AAMI Not Very Insurancey Credits

The AAMI: Not Very Insurancey campaign was developed at Ogilvy Melbourne, by executive creative director David Ponce de Leon, senior copywriter Lenna Boland, art director Karsten Jurkschat, senior copywriter Scot van den Driesen, senior art director Sally Hastings, head of strategy Gavin MacMillan, group account director Belinda Danks-Woodley, account director Belinda Bassingthwaighte, account manager Rebecca Lawler, agency producer Jennie McCartney.

Media was handled at Starcom.

Filming was shot by director Nick Ball via Finch with director of photography Jeremy Rouse, executive producers Corey Esse and Karen Bryson, production designer Neville Stevenson.

Editor was Drew Thompson at Method Studios.

Visual effects were produced at Blockhead by VFX supervisor Stefan Coory. Colourist was Ben Eagleton at BE Colour. Sound was produced at Sound Lounge by sound designer Sam Hopgood.

Music, “Danke Schoen”, written by Danke Schoen, was recorded by Wayne Newton in 1963.