Oh la la! David Kolbusz and Andreas Nilsson on Etsy’s Historical Super Bowl Ad
Great gifts are, well, great. But the thing with great gifts is that they need reciprocating. Top notch gifting can leave us saying, to quote this Etsy Super Bowl ad, “Aw, crap.”
The spot, Etsy's first ever big game commercial, encourages shoppers to use its new 'Gift Mode' by heading back to the 1880s when France gifted the United States the Statue of Liberty. Created by Orchard and directed by Biscuit Filmworks’ Andreas Nilsson, it sees a group of Americans stressing at the quality of France’s gift before Etsy’s new Gift Mode and France’s obvious love for cheese saves the day.
To find out more about the production delicacies of heading back to late 1800s New York and France and fine-tuning a well-written script, LBB’s Addison Capper chats with Andreas and Orchard chief creative officer David Kolbusz.
LBB> This was Etsy's first ever Super Bowl campaign. What's your starting point for a challenge like that? Does 'first' even play a role in your thinking?
David> Only insomuch as when a company invests in a Super Bowl ad buy for the first time you feel a greater sense of responsibility to guide them through the process based on your own knowledge and prior experience. But as with any brand, the key is to show up well. As our agency demands as much rigour with our strategy as it does with creative, we looked at the ad as a supercharged extension of our existing strategic mission for the brand.
LBB> Why did 2024 mark the right time to make the commitment of advertising during the Super Bowl?
David> Etsy is growing. Getting better. Their product offerings - such as Gift Mode - offer a real point of differentiation from other online retailers. It felt like the time to change some misconceptions about the brand on a grand scale.
LBB> What was the early creative process like? Were there any other iconic 'gifts' that were in the running to be the focal point of the ad?
David> Funnily enough, the cheese board was the original scripted gift. Obviously we cycled through every possible alternative to see what would be the best combination of thoughtful and absurd. We landed back where we started.
LBB> Why was Andreas the perfect director to bring this to life?
David> Well, apart from having a strong pre-existing relationship - which always helps on a tight turnaround - he’s a masterful talent who can kind of make work anything he turns his hand to. Andreas is a thinker, so even if a solution doesn’t immediately present itself to him, he’s always game to work it out. And he has the humility to collaborate with his creative partners. When you have a strong creative point of view but you’re also open to suggestions and to being wrong, you always get a better result.
LBB> What kind of challenges are brought up by making a spot that's rooted in real history versus something that's completely fiction?
David> Historical fidelity was our biggest challenge. How close do we adhere to the truth? In the end, not very much. But I think the simulated truth is well-represented. It seems vaguely credible. Although I imagine most people would correctly guess that the statue wasn’t delivered standing up.
Andreas> I wouldn’t call it a challenge, but of course we always do a bit of research when executing an idea that is rooted in an actual historical event. It can't look totally tone deaf or revisionist. But, at the same time, it’s not an episode on the History Channel so as long as it FEELS correct it is correct.
LBB> I love the production design. It feels very much of the era, but there are elements that somehow really lean into the comedy too. How did you pull off that look and feel? Was it a built set or more CGI?
David> It was a built set! And thanks for the compliment. Peter Grant was the production designer, and did a remarkable job across the board.
Andreas> It was done by maestro production designer Peter Grant and art director Serban Porupca. It’s an incredible duo if you want a set with texture and depth and class. The office is built from scratch in a studio and the exterior is an old backlot in Bucharest that is built to look like Boston in the late 1800s. It was pretty run down when we picked it so the art department team did a great job making it look the way it does.
LBB> Despite that, the writing and dialogue is the real star. What was the writing process like? Was it quite collaborative?
David> Patrick [Wells] and Kevin [Igunbor]’s script was pretty darn close to what we shot. Naturally there were adlibs, alternatives. We kicked the tires. Workshopped it with Andreas. A few little changes or additions here and there.
Andreas> I agree, it’s a very well-written dialogue. It was already in a really good place when we received it from the agency. Only tweaks we had to do was the normal which is to explore with the writers on how we can simplify to make sure it all lands on time. We are working in the noble art of telling stories in 30 seconds so there is always time spent on condensing dialogue.
LBB> What was the casting process like?
Andreas> We casted most dialogue leads in London and Chicago for obvious reasons. But there is also a big chunk of great performers that were casted in Bucharest. When we were playing in the room on day one [a man playing] one of the of the gentlemen in the office, played by a Romanian actor who was casted as a background actor, turned out to have great timing and screen presence. So he upgraded himself on the day. Well done.
LBB> What were the trickiest components and how did you overcome them?
David> Finding a credible harbour and period exteriors that could replicate period France in the summer (when the statue arrived) whilst having to shoot in December. There weren’t many options. In fact there was one. That was the true gift.
Andreas> I think digesting the Mountain Oysters at the Zexe restaurant in Bucharest is always a bit of a challenge when we go there. It’s a really dividing dish. But I recommend everyone to at least try them once.
