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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : July August 2007
GRAND PRIX AUSSIES AND KIWIS IN 2007 Connections to seven of the eight Cannes Grand Prix, three out of the four Titanium Lions FILM GRAND PRIX Tim Piper as copywriter, co-art director and co-director for Dove ‘Evolution’ via O&M, Toronto. PRESS GRAND PRIX Leo Premutico as co-executive creative director for Ultra Tide via Saatchi & Saatchi, New York. RADIO GRAND PRIX Paul Reardon and Jonas Peterson as creatives, Emma Hill as creative director for Snickers ‘Hoedown’ via Clemenger BBDO, Melbourne. PROMO GRAND PRIX Andy Blood and Guy Roberts as creatives, Andy Blood as executive creative director for Adidas ‘Bonded by Blood’ via TBWA\Whybin, Auckland. MEDIA GRAND PRIX Verity Butt and Karen Maurice-O’Leary as creatives, Andy Blood as executive creative director for ASB Bank ‘Money Goes Digital’ via TBWA\Whybin, Auckland. CYBER GRAND PRIX Tim Piper as copywriter, co-art director and co-director for Dove ‘Evolution’ via O&M, Toronto. CYBER GRAND PRIX Nick Law as executive creative director for Nike+ via R/GA, New York. INTEGRATED LION Mark Harricks and Srinath Mogeri as creatives, and Philip ‘Duster’ Andrew as executive creative director for NZ Netherlands Foundation ‘World Press Photo Exhibition’ via Clemenger BBDO, Wellington. TITANIUM LION David Droga as creative chairman for UNICEF ‘Tap Project’ via Droga5, New York. TITANIUM LION Michael Spirkovski and Grant McAloon as creatives, Mark Collis as national creative director for WWF ‘Earth Hour via Leo Burnett, Sydney. TITANIUM LION Nick Law as executive creative director for Nike+ via R/GA, New York. to a film production company that developed cutting edge computer animation to one of the first totally interactive agencies. These days, it is posi tioning i tself as “Th e Agen cy for the Dig ital Age”, promising to create opti - mised, user-centric experiences that sell products, engage customers and build brands across channels, from the Web to broadband/enhanced television and wireless devices”. Apart from Nike, clients include Nok ia, L’Or eal, Levi ’s, S ubaru, Target, Aveda, Bank of America and Verizon. In an era where the marketing and advertising industry has been slow to adapt to the rapid rate of techno- logical change, R/GA is getting noticed as a viable alternative. Law says the only time it is not cons idered a direct competitor is when there is a relationship through parent company IPG: “In every other relationship there’s a possibil- ity that we might do some of the more traditional work or the tradi- tional agency might do the digital work. We have won a lot of faith in the industry because of the thought leadership of the executive group and Bob’s profi le so we are at a point where a lot of clients trust us to d o broader brand stories than just the digital work. This means we are considered a bit of a threat to a lot of traditional agencies.” One of the trends favourable to making the transition from digital shop to generalist is convergence, something that hasn’t really caught on in Australia yet. “I read recently that TiVo is just comi ng to Austra lia and this is someth ing that has been in the States for a long time and obviously it is affecting the ad business. If you JU L Y /AUGUST 2 007 look at the submissions for the Cannes Lions every category is up except for TV,” says Law. “Th at’ s typical of what’s hap- pened in the US in that the whole outbound traditional advertising is shrinking and everything interactive is expanding so we don’t re ally feel threatened by the large, traditional agencies. Their creative culture is not conducive to the sort of work that needs to be done now.” With the consumer controllin g media in a way they weren’t before, Law sees them hiding from tradi- tional advertising and seeking inter- active content, a movement many mainstream agencies don’t have a handle on in his view. “When traditional agencies try to do interactive content they look at it through the advertising prism and extended narratives in the interac- tive space and that’s really a tiny percentage of w hat should be done or the potential of the medium. It’s very difficult to get out of that habit if you are a traditional creative, it is a Pavlovian response - you get a brief and you look f or the punch line and that’s not what people real- ly want. Most people never really liked advertising, but consider it to be pretty annoyi ng. I don’t even have TiVo now, I got rid of it and I have Apple TV so the only time I see TV advertising is in Cannes or on a reel.” Based on the work he judged for Cyber, what was wrong with the wor k for Au str al ia an d New Zealand? In total, Australia had to live with a single Bronze to Tequila\ Sydney while New Zealand didn’t get any. We even had a local (of sorts) in charge with Tom Eslinger as jury president. Eslinger was Saatchi & Saatchi’s creative director for inter- active and emerging technologies in the Auckland o ffice u ntil he was promoted to w orldwide interact ive CD l ast ye ar a nd n ow s pli ts h is time between Auckland and LA. Law says he saw some pretty good wor k fr om Austr alia and New Zealand, but what is missing is the scale of the interactive space, some- thing h e attrib utes to mar ket size and low broadband penetration. “I rea d th at b roadband pen etra- tion [ for Au stralia] i s 42 nd i n the world, which i s pre tty ou trageous for a developed country. It will get there, Australia is so small that they can flip the infrastructure in a cou- ple of years, but right now the agen- cies d on’t se e i t a s a wo rthwhile investment because there aren’t the consumer h abits t o s upport th at sort of work,” Law says. “The work that I s aw wa s obvi- ously done by interactive disciplines in the la rger t raditional a gencies and the dynamic, generally, in that case is that when the work has been pegged f or TV a nd p rint th ey ask the digital people to come along as a last r esort. It was w ell done, but there wa sn’ t a nything de ep an d robust a nd l iving by its elf i n t he inte ractive space . It w as small, episodic, well cr afted, ther e’s always some humour, but it’s more like a campaign piece.” The more imp ortant s tuff in t he digital space right now is less about advert ising, sometimes n ot e ven about marketing, according to Law. “It’s more about some sort of engagement, e xtending an e xperi- ence from the virtual world into the physical or cr eating s ome s ort o f function that is a product extens ion and the market in Australia i s just not ready for it, but I’m sure it will be soon.” Until then, he’s content to contin- ue working in New York in the cut- ting e dge o f t he t echnology: “I think about going home and even- tually I’d like to,” he says, adding that his g ir lfr iend, who is also Australian i s c ertainly interested in returning. She i s the writer Allison Glock a nd th ey met at B erkelouw Books a t Oxford Street where she used to work. He would consid er opening his own age ncy, bu t ag ain, say s h e’ll wait for broadband - a nd thus the work - to catch up. After all, when he was l ast h ome on h olidays he found h imself h aving a s trange reaction to TV advertising. “I sat there and watched my Mum sitting th rough TV sp ots a nd I remembered what it was like when it was the job of a dvertisers not to ask why someone was watching but to b e t here b etween c hannels o r when someone turned the page of a magazine a nd h ow d ifferent i t i s now,” he says. “You have to really ask why does someone want to c onsume y our message because online or in mos t other mediums i f you a re control- ling i t i t’s a deliberate choice and you a re no t go ing to d o th at jus t because you want to have a laugh at the end of 30-seconds.” With people contr olling the media, the whole model needs to be re-thought: “T hat’s what worries me about the wo rk I saw out in Australia - they ha ven’t made that shift y et, they a re s till thinking i t’s outbound stuff and that people like advertising because we like advertis- ing,” Law s ays, disappearing bac k into the crowd of Australians mak- ing their impact felt in bigger mar - kets around the world. J CAM PA IGN B R I E F 29
September October 2007
May June 2007