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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : September October 2008
T HE BUSI NE SS WHO’S IDEA IS Some agencies overseas are tackling the convergence of branding and entertainment by hiring outside the square, bringing in talent such as architects, stand- up comedians, journalists, photographers, lawyers, documentary filmmakers and painters, while others are forming alliances with other industries to tap into a broader talent base as needed. It’s a trend that’s yet to play out in any significant way in the financially challenged, smaller creative departments of Australian agencies, but a slew of international agencies have embraced the change, which could fuel major changes in the way the creative department of the near future is stocked. Campaign Brief’s Heather Jacobs takes a closer look. ANDREW BANCROFT, A CREATIVE AT Goodby Silverstein & Partners since November 2006, has v ery l it tle marketing knowledge, doesn’t know the hi story of adver tisin g, an d hasn’t watched TV f or ye ars. Th e rapper/MC, who does hip-hop bat- tl es i n char acte r, such as Jelly Don ut , G eorg e Bu sh an d Yo Mama, and is a writer f or improv group Killing My Lob ster, r epre- sents a n ew b reed of a dvertising creative who brings outside creative skills into the creative mix. Some a genc ies are tac kl ing the convergence of branding and enter- tainm ent by h irin g ou ts ide th e square , bring ing in tal ent f rom diversified industries such as stand- up comedians, architects, j ournal- ists, photographers, lawyers, docu - mentary filmmakers and pa inter s, while others a re f orming al liances with other industries to t ap i nto a broader talent base as needed. It’s a trend that’s yet to play out in any significant way in the financially challenged, smal ler creative depart- ments of Australian agencies, but a slew of international agencies have embraced the change, which could fuel major changes in the way the creative department is stocked. Bancroft worked on the California Mi lk Proces sor Board’s ‘White Gold’ campaign (www.whitegoldis- whitegold.com) , al ong with Paul Charne y and Jon Wal anske – all thr ee are alumn i o f the San Franci sco-based sk etc h co medy tr oupe Ki ll ing M y Lobster (www.killingmylobster.com). I t i s based on a fictional ba nd, fronted by a gui tar ist and sing er c alle d White Gold who plays with a trans - parent guitar filled with milk. Fir st launched via MySpace, it inclu des the three-minute music video ‘One Gallon Axe’. A lot of the s ketches an d vid eos Bancroft has worked on in the past are three-to-ten minutes l ong, giv- ing time to develop a character and build on jokes. This came in handy devel oping White Gol d’s th ree- minute songs and videos. “I e specially love wr iting s ongs, and thirty-second song s are inher - entl y jingl e-i sh. As wr iter s, w e alway s want more tim e t o tell a sto ry, squeeze jok es i n, get tha t slow motion chinchilla shot in there (or a t least I do), so it’ s coo l that internet advertising opens up these possibilities. Clients are re cognising 28 CAMP AI GN B RIEF Goodby: says Goodby Silverstein has a really high success rate with hiring people from comedy troupes the benefits of longer form content, and it’s broadeni ng the t ypes o f scripts we can write, as well as cre- ating opportunities fo r c ompletely new type s of campaig ns,” says Bancroft. GS&P co-chairman, Jeff Goodby, said the agency has a rea lly h igh success rate with hiring people from comed y troupes . Sa ys G oodby : “You’ve got to do a l ittle bi t of finessing with them but the y learn. They’ve never done anything totally awkward but they also tend to come up with very original, funny work that advertising people wo uldn’t necessarily think of. It’s been great to have people like that here, plus they see t hing s as the a udience, they establish a kind of won derful freedom and art school feeli ng t o the place because they are very often people that have been making their own videos onli ne and th ey tend to be very freeform l ike r ap videos,” he says. Charney i s the perfect hyb rid. A classically trained copywr iter who spent much of the past ten year s fr eelancing while build ing u p Killing My Lobster, he understands advertising but brings in an outside perspe cti ve . He finds the skills developed building the thea tre troupe into an of ficial non-profit with a board of directors useful in his day job. He says: “Having worked on and produced hundreds of nights or live theatre, well, you’d be a moron to not learn something about how to work with people and realise c re- ative ideas. I had become pretty apathetic towards advertising actu- ally; it was a way to pay me while I spent time pursuing my comedic ambitions. That changed a couple of years ago when I was exposed to the beautiful world of interactive. Her e was a plac e where I could translate more of what I like to do, which is long format, short format, weird sound designs, animations or in one case, interactive board games about getting shipped to Milkatraz. It’s really helped to not see things solely as just thirty-second TV spots or stand-alone print ads.” The third pe rson in their trio, Jon Wolan ske, was hir ed as a copy- writer in May 2007. The former publicist for the American Conserv- SEP T E MBE R/OCT OB E R 2 0 08
Awards Dec 2008