Cog is a British television and cinema advertisement launched by Honda in 2003 to promote seventh-generation Honda Accord cars within the United Kingdom. The commercial follows a Heath Robinson contraption constructed from disassembled pieces from an Accord. The campaign surrounding Cog was handled by advertising agency Wieden+Kennedy for £6 million. Production was contracted to Partizan Midi-Minuit, and took place over seven months, at a cost of £1 million. The ad was directed by Antoine Bardou-Jacquet. Post-production work was completed by The Mill. Cog premiered on British television on 6 April, 2003, during a commercial break in ITV's coverage of the 2003 Brazilian Grand Prix.
Cog is the first of a three-part series of ads released during 2003, together with Sense and Everyday . The campaign received over 37 awards from professional organisations and festivals within the television and advertising industries, becoming the most-awarded commercial of all time. Due to the prohibitive cost of airing a 120 second commercial, the full version of Cog was aired only a handful of times, and only in the United Kingdom, Australia, and Sweden. Despite this, it is regarded as one of the most influential commercials of the past decade, and has spawned a number of imitations and parodies. The piece caused controversy, however, when the producers of the 1987 documentary "The Way Things Work" accused the makers of Cog of plagiarising their work.
Sequence
The sequence starts with a transmission bearing rolling down a board into a synchro hub. The hub in turn rolls into a gear wheel cog, which falls off of the board and into a camshaft and pulley wheel. The camshaft swings around into the centre section of an exhaust pipe mounted on top of an engine crankshaft assembly. The exhaust in turn swings round to knock, which in turn swings into the first of a series of valve stems. The valve stems roll down a front bonnet placed on top of an alloy wheel rim, releasing an engine oil dipstick with a throttle actuator shaft on the end. The disptick flicks over an engine cam cover into a radiator. The radiator overturns, falling onto a wheel balanced on top of a water pump housing. This wheel rolls off and knocks into the first of a series of three weighted wheels, which roll up a ramp into a brake disc.
The disc falls onto a seatbelt which, using a suspension lower arm as a lever, pulls a rear seat back into an upright position. As it does so, the seat disturbs a front windscreen wiper blade attached to a pulley wheel. The wiper blade travels along a bonnet release cable and overturns a tin of engine oil. The tin empties its contents onto a lower shelf, which disturbs the balance of several valve springs against a flywheel. The oil alters the balance enough to cause several of the springs to roll. The valve springs are slowed enough by the spilt oil to allow them to drop into a cylinder head assembly mounted on a seesaw constructed of a board placed on a rocker shaft and gear wheel cog.
On the other end of the seesaw is a 12 V battery. As the assembly drops, the battery is pushed into a cylinder block wired up to an engine fan. It completes the circuit, and the fan rolls across the open floor into an Anti-lock braking system modulator unit. The modulator unit knocks a rear silencer box down a ramp and into a rear suspension link. The link pushes a transmission selector arm into a brake pedal loaded with a rubber brake grommet. The grommet launches into a tyre mounted on a front end assembly, knocking it off and onto a wire suspended between two brake discs. The wire pulls a con rod, rotating it into a cylinder liner.
The liner rolls down an incline, slowed by another con rod, the electric window of a front door assembly, and a series of interior grab handles. It falls onto another battery, completing a circuit. The circuit powers a windscreen washer jet pointed at a windscreen. The automated water sensors in the windscreen activate a pair of wiper blades, causing them to crawl across the floor. The wipers release a handbrake lever keeping a quartet of suspended window panels in place. As the windows swing round, the resulting air draft knocks the liner panel of a rear tool tray into a rocker shaft, which rolls across the floor into a suspension coil spring. The collision causes enough of a vibration to knock a second shaft into a battery. This activates the Accord's CD player (playing Sugarhill Gang's "Rapper's Delight"). The vibrations from the car speakers shake a coil spring just enough to set it rolling off a rear tailgate glass panel, and onto a brake pedal.
Once pushed, the pedal causes a set of rear shock absorbers to depress, pushing a solenoid onto a button on an ignition key. The button remotely closes the hatchback of an assembled Honda Accord on a brake-disc-mounted trailer. The closing of the door causes the weight of the car to shift enough to start it rolling down the slope to its final position in front of a tonneau cover with "Accord" printed on it, weighted with a wheel hub assembly. The piece closes with a voiceover from writer Garrison Keillor, who asks, "Isn't it nice when things just work?"
Production
Background
Sales of Honda products within Europe had been in decline since 1998, and the company's position as the number two Japanese automotive company, behind Toyota, had been taken by Nissan. Within Europe, Honda cars were seen as staid, uninspiring, and of lesser quality than European brands. In one survey, one-fourth of people asked said they wouldn't dream of buying a Honda as their next car. In 2002, advertising agency W+K pitched to Honda a new campaign based on the company's Japanese motto, "Yume No Chikara" ("See One's Dreams"). This "Power of Dreams" campaign, of which Cog is a part, was to rework Honda's image into being warmer and more consumer-friendly.
The first series of promotions centered around the question "What if...?", and took place in many "dream-like" scenarios. The first television campaign, OK Factory , explicitly introduced the premise of the campaign by asking what would happen if the world's favourite word (Okay) was replaced with "What if?". The next few pieces of the campaign: Pecking Order , Seats , and Bus Lane for television, Doodle , Big Grin , and Oblonger for radio, and a number of matching print advertisements, became progressively more surreal, featuring oddities such as a traffic cone draped in leopard fur and trees growing traffic lights from their branches. In 2003, creative team Matt Gooden and Ben Walker approached the "Dream Factory", as the committee responsible for maintaining consistency within the campaign had come to be called, with an idea for a new television and cinema piece based around a chain reaction of movement involving parts from a Honda car. The project would eventually come to be known as Cog .
Pre-production
Cog was pitched to Honda executives in mid-2002 by W+K art director Matt Gooden and copywriter Ben Walker. Prior to Cog , Gooden and Walker had worked as a creative team on a number of award-winning projects since meeting at a copywriting class in 1988, including a Guinness World Record-holding one-second advertisement while working for advertising agency Leo Burnett Worldwide, and a depression-awareness booklet for the Charlie Walker Memorial Trust. The central concept of the pitch was a 30-second trial film inspired by several sources, including the children's board game Mouse Trap, Caractacus Potts' breakfast-making machine in the film Chitty Chitty Bang Bang, and a 1987 Swiss art film by Peter Fischli and David Weiss titled Der Lauf der Dinge ( The Way Things Go ).
The Honda executives were enthusiastic and encouraging about the project, and gave the green light for work to go ahead, with a production budget of £1M. Their proposal approved, Gooden and Walker recruited a London-based team comprising engineers, special effects technicians, car designers, and even a sculptor. The team spent a month working with parts from a disassembled Honda Accord before even the design for the commercial's set was finalised. It took a further month for approval to be granted for the final version of the script, which was put together from the ideas collected by the team from working with the parts. Honda specifically requested that the script make use of certain features of the Accord, including a door with a wing-mirror indicator and a rain sensitive windscreen.
With the script approved and a handful of preliminary conceptual sketches, Gooden and Walker set about finding a director for the project. Eventually, the pair took on Antoine Bardou-Jacquet, of London-based production company Partizan Midi-Minuit, to direct Cog . Bardou-Jacquet had previously won several awards for his work, including music videos to Alex Gopher's "The Child", Playgroup's "Number One", and Air's "How Does It Make You Feel".
Production
Bardou-Jacquet set aside two months of the schedule for creating hundreds of conceptual drawings of potential interactions between the parts, and a further four months for practical testing and development. Several chain reactions in the script were abandoned during the testing period, including airbag explosions and collisions between front and rear sections of the car The team worked on small sections of the scr
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