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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : November December 2007
T V C P R O D U C T I O N Wells: “Traditional TVCs are no longer to be relied upon to engage the customer - because they just aren’t watching. What they are watching are 360-degree campaigns like ‘Revolution’” “You only have to look at Telecom New Zealand and the great work that Saatchi has been doing for them over the years….or the Carlton Draught work. As you get greater ideas from New Zealand and Australia I think they really make a difference. It’s that self-dep- recating approach we take, like in the MTV ‘Budgie Smugglers’ com- mercial,” he says. Tompkins suggests all this talk about cross-media platforms is just agencies finding new ways to get extra money out of clients: “Advertising is the second oldest profession on the planet, let’s not beat about the bush here. It was the madam standing out the front of the building to gets the blokes in, that’s all they’re doing, just spruik- ing. So, I’m slightly cynical about how effective the internet is in Australia and New Zealand. I have no doubts about how effective it is in America and Europe but I defy anyone to tell me how effective it is here when you go outside the big metro areas,” he says. Samway says because making ads is a collaborative effort you have to have creative teams that work better with production companies who work better with clients and increase the level of communication to the extent where many years ago people went on hunches and trust. He says: “That fell away because research groups were born and then everything became a little more cir- 42 C A M P A I G N B R I E F cumspect and people were like I’ve written this ad and it has to go to research and if it doesn’t tick 28 boxes it doesn’t get made and more and more with all these different avenues of advertising available a lot of people have lost their way – the way to create better work is more open communications lines from corporates to agencies and agencies to their suppliers.” The best thing that could happen really has nothing to do with pro- duction, according to Nicol, but requires bringing the agency and media back together. “So often now we see a script that is being made just to fit a media schedule - on a too small produc- tion budget and a too big media spend. How sick are you of seeing the same bad spot a thousand times? There needs to be more care with what the advertiser is saying rather than how many times he says it,” she says. Cudlipp thinks better work will ensue once clients start treating their customers with respect as opposed to mug punters: “We could put all the researchers in a boat, tow it out to sea, and sink it and see what happens if risks are taken and gut instinct is employed. And content - as in ideas - could start to claw back some of the ground lost to style,” he says. But Vanderfield is more sanguine, saying sometimes things just come together and you get a ‘Big Ad’. Carter: “It goes in ebbs and flows…but I would like to believe that through the industry, from clients right through to us, are recognising the value of really crafting good work.” “That’s the beauty of the business, it’s not a science and there’s no for- mula for creating a good idea and a good ad. So it seems to be me that it gets harder as it gets longer, to make thirty minutes of entertain- ment is just a whole other thing and then you go into long-form, series. The BBC can produce good enter- tainment but they have been around for donkey’s years, it’s a whole new world and I think it’s going to be a long time for branded content to be a successful sales tool.” NEXT GENERATION OF TALENT Short of getting signed to the Saatchi & Saatchi New Directors’ Showcase at Cannes, which gives young directors global exposure, how do people get a break and where is the next generation of tal- ent coming from? Grasse says Curious has signed a new director Derek Henderson who is a top photographer as a DoP/ director and has two other top shelf directors he’ll announce in 2008. He thinks DoPs are usually a good choice to make directors but cau- tions that being a DoP could be a better career choice. “Directors who used to be cre- atives are not broad enough now, they focus too much on advertising sometimes so they don’t have that broad range of influences that make them really great directors because they are so tuned to advertising and advertising alone. Editors can become directors, we are always looking for good people,” he says. One way Curious is broadening its talent base is in introducing Japanese directors into the market- place, including Kosai Sekine. “Japanese directors don’t usually work in the Australian and New Zealand market because they are thought not to speak English and it will be too hard but I have three great Japanese directors that do speak English, write their treat- ments in English, are doing great work and I am really interested in introducing them to the market. The Japanese are really interesting, creative people and it’s a creative revolution in Japan now, it’s their era now,” he says. Cudlipp sees the next generation of talent coming from the visual effects houses: “With the accessibil- ity of technology, the explosion of delivery platforms, the abundance of film schools, short film competi- tions and agencies undervaluing experience there has never been a better time to be a new director. Some of those directors over 30 may be seen as a little over the hill now. Perhaps not entirely fair but it’s all about supply and demand,” he says. Masterton says Plaza signed Alan Moore several months back and his background is design and skate- boarding. Traditionally, a lot of commercials directors come N O V E M B E R / D E C E M B E R 2 0 0 7 (
AWARD Awards 2007
September October 2007