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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : September October 2007
GLOBALI SATI ON AREYOU(O.S.) There’s the most famous expats – David Droga, Craig Davis and Bob Isherwood – but there’s also a raft of other Australians quietly working their way to the top in markets around the world, lapping up opportunities that alows them to get better jobs when they return home. Conversely, the Australian advertising industry has always welcomed those with international experience, something that has allowed many a Brit, and the occasional American, to fast track their careers down under. Campaign Brief’s Heather Jacobs talks to some Aussies making their way overseas, some successful Aussies who have gone and come back and some expats about working in Australia about the value of international experience. THE ONLY PERSON HAPPIER than David Nobay that Droga5 is re put- edly opening in Aus tralia is B en Not t’s mot he r. Whe n the n ews broke, Nott, partner/creative direc- tor in the Los Ang ele s o ffi ce o f Droga5, happened to be home visit- ing hi s fami ly an d his mot her thought it may be enough to entice her son back home. But is coming home ev en on the agenda? Nott says: “Absafuckinlut- ley. Can you print that? Why come ba ck ? You haven ’t got en ough pages. I love Australia. Th e surf, Australia n la dies, my fam ily, my mates, the Aussie attitude, all of i t. I’m over due and want to properly experience Australia a gain while I’m still a young grommet. “Maybe something could happen with Droga5 i n Sydney. But I’ ve got a few years of good projects ahead of me in the US, and we own a few different companies over here such as world-wide-mind and hon- eyshed.com that keep me very hap- pily busy. Knowing my luck I’ll get killed in some freak surfing accident before I get back to my ide al home and job.” Nott first l eft Australia 15 y ears ago after winning an award for writ- ing and d irecting an ad tha t s aw him attending an award s show i n New York. H e was worki ng for DDB Sydney at the time an d his boss suggested h e do so me wo rk exp erie nc e at DDB Ne w Yo rk , which he did before he was sent to BMP DDB London and e ventually transferred back to Sydney. Not t then work ed fr eelance a t Andro meda , Sydne y (o wned by Siimon Reyn olds) wit h Pau l Bennell, but after getting a taste for the international creative market he wanted more. Says Nott: “All the best work at that time was coming out of Lond on, New Yor k an d Amsterdam. There was an amazing guy in Amsterdam - P aul Me ijer - who was winning all th e Cannes Gold Lions. Because he was also a writer/director that rea lly i nspired me. Fortunately he hired me.” The agency was PMSvW/Y &R Amsterd am, b ut in Can nes t hat year (1994) one of Nott’s ads - the Kadu ‘Shark’ print ad cre ated with Bennell at Andromeda, j ust h ap- pened to win the Print Grand Prix. In Cannes to accept the award pe r- sonally, Nott was qu ickly gi ven a big offer to join Saatchi & Saatc hi 40 CAM PA I GN B RIE F Nott: “I feel that by working overseas in so many different countries I’ve been able to learn a lot of different creative viewpoints from a lot of different creative people that I wouldn’t have otherwise, especially the difference between European and American styles of communication.” London before the f estival e nded. After an award-winning st reak at Saatchi’s London, a few years on he switched to directing with Outsider Films, London, as wel l as g oing freelan ce, work ing at agencies in London, N ew Yor k, P or tlan d, Brasil, Tokyo and Singapore, while all the while building up hi s own clients at wor ld-wid e-mi nd. He then moved to LA and took a cr e- ative director gig with inte rnational duties at TBWA\Chiat\Day for sev- eral y ears, before be hind hired by Droga last year. Nott is undecided on whether he’s had more chances to do better work overseas than he woul d have at home. After all, he won his Cannes Grand Prix for Kadu Clo thing in Australia: “At that t ime what th e Austral ian ag ency and mar ket allowed us to do was something very brave and risky - a shark with it s gut s cut open and a human skeleton in the entrails. That’s the stuff that real ly b reaks through. Most overseas markets have a dif- ferent s ocial culture that doesn’t support risky work a nd often the budgets are so big they can’t justify running breakthrough work,” Nott says. “But I feel that by working overseas in so many different coun- tries I’ve been able to learn a lot of different creative viewpoints from a lot of different creative people that I wouldn’t have otherwise, especially the differ ence between European and American styles of communica- tion. I’m very grateful for all that. Maybe it lifted my game. Have I SE PT E MBE R/OCTOB E R 2 007
November December 2007
July August 2007