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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : September October 2008
RA DIO JUDGINGAT CANNES This year’s Australian radio juror at Cannes was Dejan Rasic, executive creative director of Colman Rasic Carrasco, Sydney. The multi-awarded Rasic has spent 14 years at some of the hottest agencies in Australia, Singapore and London. To find out how Australian radio advertising is performing at Cannes, Campaign Brief asked Rasic a few questions. What was some of the best stuff you heard and why? New Zealand had some exciting work. The ‘Knocked Up’ campaign from DDB Auckland had the jury in stitches. The ‘Incomprehensible Irish’ spot for Murphys Irish Stout and ‘T ak e O ver ’ for B ruce Almighty were also really clever, both fr om Saat chi & Saat chi, Auckland. ‘Take Over’ was particu- larly in teres ting b ecause the idea ran across 71 radio stations in New Zealand, at ex actly the same time. The stations were l iterally hijacked by the voice of God. Anothe r innovat ive idea came from Y&R Malaysia for the Colgate 360 toothbrush. In Malaysia, music censorship i s common so the idea was to use a brushing sound instead of a bleep t o cover profanities in songs. Colgate bought entire weeks of radio programming and backed it up with the line “New Colgate 360 toothbr ush. Get the fi lth out of your mouth”. It worked particularly well in Eminem tracks. The Radio Grand Prix was award- ed to Dentsu, Tokyo for Canon cameras. The simple product bene- fi t of a quick shutter speed was brought to life through the clever use of narrati on movi ng quickl y from spe aker to speaker . It is a time less, simpl e and rewa rding idea, which is why it won the Grand Prix. Saatchi & Saatchi, Copenhagen Rasic: “I know it’s a cliché, but good radio brings a story to life in your head. Simple ideas executed really well command an audience. Humour also tends to work. It’s all basic stuff but many ads fail to do it.” How do Australian radio ads compare with the overall standard you judged in Cannes this year? Australia managed to ge t a lot of work s hort-listed, bu t i n t he en d only one idea picked up metal. The outstanding ‘Disclaimer’ RACV ad from Clemenger Melbourne won a Silver Lion. The overall standard of entries was really high this year and the show featured work f rom a ll over the world. I gu ess th at’s the good thing about Cannes, it is truly an international award show. What made the RACV ‘Disclaimer’ commercial an award-winner? It was awarded because it brought to life a simple truth a bout ra dio ads and importantly, made i t gen- uinely funny. An intere sting tr uth mix ed wi th humour is always 16 CAMP AI GN B RIEF potent. They also did a spectacular job of cast ing great a ctors . The deadpan aggressive voice of ‘Voice Over Guy’ was perfect. T his was the stand out piece from Aus tralia by far. What makes a good radio commercial and why? I know it’s a cliché to say this, but good radio brings a story to li fe in your head. Simple ideas e xecuted really well command an audience. Humour also tends to work. It’s all basic s tuff but many ads fail to do it. Another critical f actor i s c raft. Radio has always suff ered f rom being knocked together at the last minute and wi thout m uch p lan- ning. It shows when yo u cu t c or- ners, but then this is true of any medium. created a really funny campaign for Sprite Zero. One of the commer- cials featured a n excel lent Euro dance track parody with inspired lyric s suc h as “La st girl on the dance floor, you’re the final chance to get laid”. They all ended with the line “Today’s refreshing truth brought to y ou by Sprite Zero. No sugar. No bullshit”. They are super funny and entertaining but more importantly, totally relevant to the product. The IKEA ‘Low voice’ spot from Zig Toronto was also memorable, if only for the use of a woman with a grizzly man voice. Finally, just to prove that not all great ads need to be for sexy prod- ucts, Grey South Africa created an awesome campai gn for , of al l things, Cuddlers nappies. The three spots f eature parents reading bed- time sto ries suc h as Hansel and Gretel, the twis t bein g they get enthusiastic about the stories and make them sound really scary. The idea concludes with the parents wishing their kids goodnight a nd the endl ine is simply “Cuddlers Nappies, now super absorbent”. SEP T E MBE R/OCT OB E R 2 0 08
Awards Dec 2008