Do yourself a favor and DON’T watch all of this video right off the bat.
Just watch the first 20 seconds of this ad and then pause it (don’t worry, I won’t spoil the ending for you).
Now, how do you feel. How much emotional punch did the scene carry?
OK. Now restart the video and watch it through to the end.
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So even though the ending scenes were largely repeated from the beginning, now how do you feel? Don’t the ending scenes have a lot more kick? Wanna know why?
Here’s what’s going on:
This ad is making ingenious use of what I’d call “frame switching.”
Remember how The Princess Bride made use of an outer story about the sick kid and his grandfather coming to read to him in order to set up the “real” story involving Wesley and Buttercup? If not, this clip should jog your memory:
So the point is that every time the film switches its frame of reference from the kid and his grandpa to the storybook story (and vice versa), that’s an example of frame switching. Got it? And here’s why this is important:
In The Princess Bride, the “Eel-infested waters” scene is a perfect example of that emotional bleed-over. Just watch the first two minutes or so of this clip:
And this emotional echo involves more than simply a kid getting caught up in a story. By the end of the movie, the kid’s attitude towards both “kissing scenes” and his grandfather have transformed because of this emotional bleed-over from events that occurred within the inner story. Check out how the ending scenes are mirror images of the opening scenes, showcasing these changes:
When the Yeti arrives, you have unknowingly switched frames – and it’s the “unknowing” part that makes this even more powerful. So when the Yeti saves Dave and you feel his relief at being warm and cared for and out of harm’s way, the advertisers are counting on those feelings to bleed-over into the ending frame, setting you up for the ending.
The ending then inflicts mental shock upon you, the viewer, from the realization that the relief and warmth and safety you felt earlier were nothing but hallucinations. And that shocking contrast between the warmth felt within the inner story and the danger, fear, and coldness you suffer through in the outer “frame” amps up the emotional punch of the final scene – taking it all the way to 11, to draw from another Rob Reiner film.
And what’s especially brilliant about this execution is that the producer switched from day-time in the opening scenes to night time in the inner story, and then bled the night-time (or evening) part over into the final scenes, thereby helping to ensure greater emotional bleed-over. Plus, for the viewer who has just been violently jarred from the inner story, back into the ending scenes, the realization comes that, not only are you just as bad off as you were at the start of the ad, but now it’s night.
This is why the ending scenes – which differ only slightly from the beginning scenes – feel so much more emotionally powerful.
So what are the copywriting take-aways from this?
And feel free to comment on any specifics you’d like to see covered.
P.S. Hat tip to AdFreek for turning me onto the Yeti Ad.