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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : May June 2007
V OX P OP: AWARDS everyone. I f anything they we re probably harder on work they knew was British and from a loc al com- petitor. D&AD we re very good abou t ke epi ng the det ail s of who and where the work was from a nony- mous, as doe s any awar d. Furthermore, the Clio award s can hardly be ac cused o f be ing bia sed towards Americans because of hav - ing Ameri cans on th e jury. Th e print and integrated jury th is y ear had on ly one judg e f rom an American agency on the panel - and he was from South America - Brazil. I thin k C lio, The One Show, Canne s and D&AD are doin g enough to encourage an e ven play- ing ground between all co untries. Where they fall down is in the qual- ity of t he j udges and h aving th e ri ght pe opl e on the right jury. People should be chosen who are at the f orefront of the various c ate- gories they are judging. I think Cannes is the mos t inter- national show because it g ets the most international entries. For most cre ative s I kn ow, D&AD an d Cannes are the best ones to have on your resume. While the feeling of bias i s d is- couraging Australian agencies from ent ering t he se awar ds, a mor e appropriate question is whether the feeling of bias is discouraging Asian agencies from entering AWARD? Is it a legitimate gripe? Everyone likes to have a cry when they don’t win. Entering these awards is expensive and time consuming. I don ’t think bias is the reason why some awards have questionable results; I th ink it’s the quality of the juries and hav- ing the right guys judging the right categories. There needs to be more judging of the judges. Collis: “D&AD is still largely a UK focused show. And rightly so. Imagine AWARD opening its doors to work from the UK, or the US. I’m sure the local industry would raise hell at the suggestion” MARK COLLIS NATIONAL CREATIVE DIRECTOR LEO BURNETT, SYDNEY Clio? D&AD? Cannes? The One Show? Which is the most coveted? For me it’s an easy quest ion . Without doubt the D&AD. Ever since I started a s a ju nior writer at O&M in Perth I’d aspired to the work that showcased in D&AD. It’s what made me move to London and to stay th ere f or 1 6 years. And whilst in recent years the coveted award has opened its doors to the outside world it is still largely a UK focused show. And rightly so. Imag ine AWARD open ing it s doors to work from the UK, or the US. I’m sure the l ocal indus try would raise hell at the sug gestion. The same holds true for The One Show, whi ch in my mind, is the next best thing to a D&AD pencil. Bitching or moaning abo ut how difficult these awards ar e to win is naïve, if not sour grapes. Award shows are notoriously diffi- cult to forecast and there ’s always some voice whinging that the wrong piece won. As far as Cannes is concerned, it’s far and away the most internation- ally based, but interestingly, in all my time in London it was never all that highly regarded. I think in the past few years it might have gained somewhat in popularity, but it is clearly more reve red out side of Europe that it is closer to home. Maybe it’s simply because cre- at ives l ove a j ol ly, an d for Europeans it’s not much of a jaunt to the South of France. And what of Clio? I’m afraid - and no offense to the Clio show - I’ve never really followed the results of Clio. Maybe it’s the time of year. Maybe it’s because there’s no annu- al. I d on’t know. But like al l awards, when you win one they all of a sudden become a great show. And so how will Australia fare at this year’s shows? By all accounts and if D&AD is any guide, we cer- tainly won’t be doing as well as last year. Them’s the breaks. Ad’, etc, etc. It’s t he next t ier or three down Spiller: “The cost of international awards is the greatest prohibitor for Australia and New Zealand agencies. We’re Australians - it’s part of our culture to want to win, when we don’t it’s hard to accept” DARREN SPILLER REGIONAL CREATIVE DIRECTOR PUBLICIS MOJO, MELBOURNE I don ’t thi nk D&A D is b iase d towards the Brits anymore. I judged this ye ar and recognised a h uge surging in the type of work that was celebrated b y a very inte rnational judging panel. I’ve always found it a little harder to get my he ad around The One Show and Clio. The work that is applauded does have its own style, especially One Show. There is no doubt the Americans do humour very wel l an d ofte n th at ty pe of advertising (dialogue driven) is cel- ebrated in that show. Howeve r, if show s don’ t h ave their own quirks and styles we may as well onl y have t he one. I t hink D&AD has done an en ormou s amount in the last two years. They 12 CA MPA I GN B RIEF don’t want to be seen as parochial and in fact it would be business sui- cide in a world that ’s be coming smaller. Cannes is the most global award show b ecause the wo rk that win s transcends all the c ultural b arriers most o f the time. T hi s howe ver does c reate a style of communica - tor s. I thin k Cannes is now the most sort after because it ’s seen as the world’s stag e and th e w or ld media supports this. I don’t think a f eeling of bi as i s discou raging Australian agencies from entering these awards - t he cost of international awards i s the greatest prohibitor for Australia and New Ze alan d ag encies. W e’re Australians - i t’s part of our culture to want to win, when we don’t it’s hard to accept. that s eem to polarize juries more. Want to win? Umm… do the best work in the world. Overall I think the whole award thing has gone a bit nut s. Too many shows. Too many categories. Too man y wi nner s. T oo mu ch replication and overlap. Too expen- sive to ente r. And giv en all the game s that go on (and there are sadly, many) too much emphasi s given to the results. D&AD, The One Show, Cannes McKeon: “D&AD, The One Show, Cannes and AWARD for us in this part of the world, matter to me, the rest I could live without” ANDY McKEON EXECUTIVE CREATIVE DIRECTOR JWT AUSTRALIA/NZ, SYDNEY At the big important award shows the re neve r seems t o be much debate over the very bes t work in the worl d - Hon da ‘Cog ’ and ‘Grrr’, Sony Bravia ‘ Balls’ , ‘Big and AWARD for us in this part of the world, matter to me, the rest I could live without. It seems Cannes is the most international show now, I just wish it wasn’t so hideously expensive. Interestingly, when the best agencies in the world are hiring they don’t look at the list of awards you’ve won, they look at your work. It sounds the same but there’s a dif- ference. A slew of awards for karate schools or bike pumps isn’t as use- ful as a book of great ads for real clients. MAY/J UNE 2 007
July August 2007