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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : July August 2007
GL OB AL ISA TI ON keting team, who had the option to run it, the short film aired globally in countries including Turkey, the Netherlands and the US. “There are so me messages that Piper (right) receiving the Film Grand Prix at Cannes are uni versal and some tha t aren’t and it’s a tough one. Time will tell whether global works and the coun- tr ies do mer ge tog ether and becomes one culture, but while cul- tures ar e still so differ ent in m any ways, g lobalisation i s more o f a headache than anything else. Here, in Canada, a lot of boutique local agencies a re d oing r eally we ll i n their global market compared to the bigger global market,” says Piper. He a grees with I sherwood t hat one of the biggest impacts of glob- alisation is being felt in the mobili- sation of talent. “As soon as the clients realise the Isherwood (right), Aussie worldwide CD of Saatchi & Saatchi with Andrew Petch (Saatchi’s Singapore) That was taking a lot of my time and I wasn’t doing it as well as I could so we hired Michelle to do that. She’s so good at it that she’s got a whole network of creative s and she helps my creative directors hire people globally. She goes to all the shows and she keeps up a dia- logue with them all.” Sou th Afr ican nat ive, T ony Granger, executive creative director of Saatchi & Saat chi New York, confirms that the New York office employs a diverse range of national- ities. The backbone of the agency is American talent and then there’s Spanish, Puerto Rican, Australian (creative director Leo Premutico) and South African, to name a few: “Often what I’ll do is I’ll put a for- eigner with an American in a team, a lot of our work is created for international usage so we need to have more of an international focus, and be very aware of the world.” The wor ld, says Granger , is shrinking to the size of a grape, in fact it’s not even a grape anymore, it’s the little seed inside the grape. “A couple of years ago a lot of the talk was about creating global com- munication, of creating one ad and running i t ar ound t he wor ld. Somet imes that wor ks, i f you dramatise human truths, because human truths are the same no mat- ter what colour you are and what back ground you ar e. You s till mourn, you still laugh, you still have jealousy, you still pine, it’s those deep human characteristics you have. If you find something like that it tend to translate globally,” says Granger. “More and more of our clients will have a global idea, let’s say Pampers, it’s about the world seen through a child’s eyes, so that’s the big holistic idea but then the local agencies create con- tent to feed into that big idea. Or JU L Y/AUGUST 2007 maybe we will create one or two spots in the New York office that will have that human insight that will transcend cultural differences.” He still sees different personalities coming out of different countr ies that a re evident in the work. For ex ampl e, ther e’s a defi nite Canadian flavour to its advertising, a definite Australian f lavour to our wor k an d a d efin ite Amer ican flavour, almost like the work is talk- ing with an accent. This flavour was lost for a time in his native South Africa: “For so long South Africa didn’t have its own fl avou r, apartheid destroyed all of that and what we did as an industry in South Africa was instead of looking within at ourselve s we looked abroad, so we were always looking at what you guys were doing, what the Bri ts were doing and what the US was doing and we mirrored that kind of work. It’s o nly in the last seven years or so that’s it is starting to have its own personality and its own flavour, the work is looking really great, you can definitely see a South African flavour to the work,” he says. Granger doesn’t think there’s a creative epicentre any more. About fifteen to tw enty years ago, the US and t he U K cou ld cl aim t hat crown, now there’s great work com- ing from everyw here , from Asia, Australia, South Africa, Argentina, Brazil, Germany and France. “Two or three years ago you could say the best work was coming from fringe countries because they don’t have the biggest clients, but you can’t even say that anymore,” he says. “It’s because we are all mov- ing around, so you can export talent from one region to the other, our talent is very mobile.” One piece of work demonstrating that human insight that transcends CA MPAIG N B R I E F 17 Granger - South African ECD of Saatchi’s New York cultur al bar rier s is Dov e’s ‘Evolution’ out of Ogilvy & Mather Toronto which won t he Cannes Film Grand Prix. It was the brain- child of Tim Piper , a young Austral ian working at the agenc y who also wrote it and co-directed it - and his ex girlfriend is the star of the spot. Put out to the global mar- more money y ou spend on t alent the bigger your r eturns then there will be a huge emphasis on finding out who i s doing what a round the world and getting them to the head office, but then what they do from there i s a whole o ther matter. I t depends on t he bri ef i n front of you, sometimes they have to be tar- geted s pecifically. The r eally sur- prising th ing about Ev olution was how many countries embraced that message, b ut t he whole b eaut y industry is p retty universal,” sa ys Piper. Nick Law, an Australian working in New Yor k as chief cr eative offi - cer at R/GA - who won the Cannes Cyber Grand P rix t his y ear f or Nike+ - exp ects m ore c lients to look outside their regions like (
September October 2007
May June 2007