Personal injury and trial law have run the same ad for thirty years. Same courthouse steps, same stock gavel, same voice at the same volume. Not because firms wanted it, but because concept-led production cost more than the category could justify. That's changed.
Talk to usPersonal injury advertising is the most cliched corner of legal marketing. Same shouting attorney, same stock footage, same tagline. Comedy is the move. Done well, it earns the laugh and still lands the legal CTA. AI avatars of the real attorneys, approved by the attorneys, scaled across markets and languages without booking another shoot day.
WCTL · Brand campaignA trial firm that agreed to be funny before it agreed to be loud. Concept-led, cast from avatars of the real attorneys, and it still lands the call to action the firm needs. No courthouse steps, no stock gavel, no studio day.
Same campaign, same cast, a different idea. The spot plays the rescue fantasy straight, then undercuts it. That is the part firms underestimate: once the avatars exist, the next idea costs a fraction of the first.
Babies in tiny ties run the insurance company's claims department. They stamp "NOT THAT BAD" on a file and crawl straight through a block tower labeled FUTURE. It looks cute until you notice what's being decided, and then the attorney walks in as the only adult in the room. Everything was generated, with no babies and no set, which is the only way a spot like this gets made at all.
"They play with your future. We fight for it." Campaign line
Personal injury in a market where half the callers speak Spanish. Montgomery Steele runs TV spots, social cuts and a steady stream of UGC, in English and in Spanish. The Spanish cut is not a dub of the English one, it is written and performed for the audience watching it.
Lucha libre as the metaphor for having someone in your corner. This concept does not exist in English. It was written for the Hispanic audience and only works there. The best Spanish creative is not the English one translated, it is the one an English audience would not fully get.
Sometimes a second version is not the answer. Spanish voice with English subtitles lets one film run in a mixed feed without losing either side of it. Twenty finished pieces for this firm so far.
An attorney in a shirt and tie, waist deep in a backyard pool, playing Marco Polo. The spot runs on one silly idea for as long as it takes to earn attention, then lands the line that matters: over $100 million recovered for clients.
Inside the insurance company's training room, today's lesson is on the whiteboard: "that's our final offer." Then the firm's two partners walk in. Written in Spanish for the Spanish-speaking caller, the same way Luchador was.
A skeleton in a neck brace waits at the claims window, form in hand, while a bandaged mummy on crutches holds on the payphone. They’ve been waiting so long they’re bones. Then the firm’s two partners walk in. A seasonal spot that still lands the point: insurers stall, the firm doesn’t.
An injured woman on a crutch, lost at night in a corn maze hung with claim forms. Around every turn is another insurance adjuster in costume: a clown, a vampire, a werewolf. A haunted-attraction premise built around the real fear, which is the claims process.
Sign polls, street interviews and a quiz show, built to sit between the posts people actually stop for. Each one teaches something most people get wrong about accidents and claims, then ends on the firm's number.
Firms win on reputation, then bury it in dense copy nobody reads. A short, well-made film carries credibility faster than a page of case results.
A short film making the case that Bizarre Bunny builds video for law firms. Peter Webb is the example: a firm-brand piece that shows what legal marketing can look like when it isn't another shouting-attorney ad.
Book the 15-minute call. If we both see a fit, we will build you a storyboard or short creative showcase. See your brand visualised.
Book the callOr email tim@bizarrebunny.com