Jung von Matt Bets on Playful Storytelling to Win Clients in Switzerland
Jung von Matt/play launched "We Do It, Danny Trejo is Addicted to Creativity" in Switzerland in February 2019, a content campaign designed to demonstrate the agency's video production range by embedding a single recurring visual device — a child playing with a toy that mirrors the product featured in each film — across two distinct media assets.
The campaign operates as an agency self-promotion initiative for Jung von Matt/play, the content and production division of the wider Jung von Matt network based in Zürich. Its strategic objective is direct: show prospective clients what the agency can make by making something memorable for itself. The platform slogan anchoring the campaign is "play with us," a line that collapses the agency's name, its creative philosophy, and its client proposition into three words. Every executional decision flows from that premise. The child at play is not incidental decoration; it is the campaign's central argument — that creativity is an instinct, not a production process, and that Jung von Matt/play channels that instinct on behalf of its clients.
Across the Swiss market, where advertising agencies compete for a digitally sophisticated client base, the campaign positions Jung von Matt/play as a versatile production partner capable of moving between categories and tones without losing a coherent identity. The two assets share the same structural logic — product world, toy echo, narrative warmth — while demonstrating range. Performer Steven Epprecht anchors both films, lending continuity to what might otherwise read as a portfolio reel. The result is a content campaign that functions simultaneously as a creative manifesto, a production showcase, and an invitation. The Clapboard Score for this campaign is 63 out of 100, reflecting creditable creative craft and a clear strategic idea that is modestly constrained by the limited public footprint of a two-asset self-promotional release.
Jung von Matt/play grounds the campaign in a single transferable insight. Creative production is most convincing when it is demonstrated rather than described, and the most resonant demonstration device is one that carries emotional weight independent of any specific product category. The child-with-toy motif achieves precisely this: it is legible across industries, inherently warm, and structurally flexible enough to sit inside films about products as different as the ones Jung von Matt/play produces for actual clients.
The Swiss advertising market provides meaningful context for this strategic choice. According to PwC, Swiss internet advertising generated approximately CHF 2.87 billion in 2019, with a projected compound annual growth rate of 4.68 percent from 2019 to 2024, per Pwc Ch. That growth trajectory signals an intensifying competitive environment in which agencies must differentiate not only on creative reputation but on demonstrable production capability. In that context, an agency self-promo campaign that shows the work rather than describes it is a rational strategic bet. Competitors including Publicis and TBWA operate in the Swiss market, and both maintain substantial content production credentials; Jung von Matt/play's response is to foreground a distinctive creative signature — the ongoing character device, the playful ethos — rather than compete on scale or network reach.
The narrative structure also serves a secondary strategic function. By featuring performer Steven Epprecht as a consistent on-screen presence across both assets, the campaign builds what might be described as an ongoing character logic, borrowing a device more common in brand campaigns than in agency self-promotion. According to research documented at campaignlive.co.uk, recurring characters in advertising generate stronger brand linkage over time than single-execution approaches. Jung von Matt/play applies that principle to its own brand, treating itself as a client worthy of the same strategic rigour it applies to paying work.
Sandeep Abraham directs, photographs, and edits both assets in the campaign — an unusual concentration of creative control that is itself a statement about Jung von Matt/play's production philosophy. When a single practitioner holds the director, director of photography, and editor roles simultaneously, the result is a visual grammar that remains consistent from the moment of shooting through to the final cut. There is no friction between what was captured on set and what survives in the edit, because the same eye made both decisions.
The creative execution leans on montage as its primary structural tool. Each film builds meaning through the juxtaposition of two registers: the polished, category-appropriate visual language of the product world, and the deliberately softer, more intimate register of the child at play with a miniature version of that same product. The tonal contrast is the point. It is not ironic — the campaign never condescends to its own material — but it is knowing, and that knowingness is what gives the work its personality. Art director Sabrina Kuhlmann shapes the visual identity across both assets, ensuring that the tonal balance between the professional and the playful reads as intentional rather than accidental.
Producer Valdita Shabanaj oversees the production logistics that make this dual-register approach viable. Shooting material that must function credibly in two distinct visual modes — polished product film and warm observational footage — requires precise planning and a production infrastructure that can accommodate both without one mode contaminating the other. The campaign's coherence across its two assets suggests that infrastructure was well managed. Steven Epprecht's performance contribution adds a further layer of craft, providing the human throughline that prevents the structural device from feeling mechanical. According to thecreativesroom.com, strong performer continuity is a consistent feature of the most effective agency self-promotion campaigns, and Epprecht's presence here serves exactly that function.
Archive engagement data for "We Do It, Danny Trejo is Addicted to Creativity" is available from Clapboard's own platform records. Each of the two assets recorded 811 views, 3 likes, and 0 comments at the time of measurement, representing a modest but stable public footprint for a campaign that was conceived primarily as an agency self-promotion rather than a mass-audience content play. These figures are consistent with the typical archive reach of a specialist B2B content campaign in Switzerland, where the intended audience — prospective production and marketing clients — is narrow by definition.
No verified third-party performance data, awards recognition, or earned media metrics for the campaign are publicly available. What the engagement figures do indicate is that the campaign circulated within professional creative circles rather than achieving broader cultural penetration, which is an appropriate outcome for its stated ambitions. An agency self-promo campaign in the Swiss market that reaches the right creative directors and brand managers with a clear, memorable demonstration of capability has fulfilled its core brief, regardless of aggregate view counts.
The structural effectiveness of the campaign is more instructive than the raw numbers. The ongoing character device, the consistent visual grammar across two assets, and the disciplined application of the "play with us" platform line all point to a campaign built with deliberate craft. According to motioncue.com, agency self-promotion content that demonstrates production range through a repeatable creative device is significantly more persuasive to prospective clients than capability statements presented without executional evidence. "We Do It" applies that principle with discipline. The Clapboard Score of 63 out of 100 reflects a campaign with a clear strategic idea and creditable craft, modestly limited in scale by its two-asset footprint and the inherently contained reach of B2B self-promotion work in the Swiss market.
"We Do It, Danny Trejo is Addicted to Creativity" is a 2019 agency self-promotion campaign by Jung von Matt/play in Switzerland. It demonstrates the agency's video production range by featuring a child playing with a toy that mirrors the product in each film, anchored by the agency's platform slogan "play with us."
Sandeep Abraham directed, photographed, and edited both assets in the campaign. Abraham also submitted the campaign to the archive. Producer Valdita Shabanaj led production, art director Sabrina Kuhlmann shaped the visual identity, and performer Steven Epprecht appeared on screen across both films.
Danny Trejo does not appear in the campaign's filmed content. His name features in the campaign title and archive description as a reference to the "addicted to creativity" creative ethos, but no evidence places him in either of the two produced assets, which star performer Steven Epprecht.
Jung von Matt/play is the content and production division of the wider Jung von Matt network, based in Zürich, Switzerland. While Jung von Matt operates as a full-service creative agency, the play division focuses specifically on video content production for clients, operating under the platform slogan "play with us."
The campaign received a Clapboard Score of 63 out of 100. The score reflects a clear strategic concept and creditable production craft from director Sandeep Abraham and art director Sabrina Kuhlmann, modestly constrained by the campaign's two-asset scale and the inherently narrow reach of B2B agency self-promotion in Switzerland.
Each film in the campaign places a child playing with a miniature toy that visually echoes the product featured in the same video. The device reinforces Jung von Matt/play's "play with us" platform by connecting the agency's name and ethos to a single repeatable visual motif that works across different product categories.
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