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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : September October 2008
T HE BUSI NE SS Bancroft and Charney (holding a pic of Walanske) – all three Goodby Silverstein, San Francisco creatives are alumni of the San Francisco-based sketch comedy troupe Killing My Lobster (www.killingmylobster.com) Tommy Hi lfige r in its c rea tive department heading up th e des ign for clothing brand Ghetto Fabulous and helped start a magazine dealing with the affairs of minority children called Today’s Child. Part of br inging pe ople in from outside th e industry i s they chal - lenge y our thinking, they come at the problem from a different angle, says Droga: “A lot of people misin- terpret that as getting a lot of eclec- tic people to do co ol stuf f, there’s always a purpo se wh en we br ing these people in. At the end of the day I am looking for people who are grounded i n a dvert ising a nd ma r- keting, people who understand sto- rytelling so the core of who we are is a lways goi ng t o b e a dvertisi ng tradi tionalist s. I want the peop le who ca n d o the best TV C bu t I want people to test themselves and see how far they can pu sh the m- selves. I t’s still a bout w ho’s cr e- ative, who has a great idea, and who has empathy for brands.” Someone who fi t the bill is K en Ratcliffe, executive creative director at Publi cis, New York, who Drog a hired while he was at Publicis. He was t eamed with Te d Ro yer a nd they worke d in the Sydn ey offi ce back i n 2004. Ratcli ffe worked in 30 CAMP AI GN B RIEF Hollywood for four years as a com- edy w ri ter on s hows in clu ding Saturday Night Live. However, he did have a traditional grounding in advertising – he spent two years at JWT New York, working with chief crea tive o ff icer James Patte rson, author of novel s in cluding Along Came a Spider and Kiss the Girl s. He wanted to work for TV and see his name in c redit a nd then go to the next level with screenplays and novels, so he left advertising. “You could say Davey baby l ured me back i n with hi s c harm, bu t mostly with lots of cash. But also I couldn’t resist running a semi glob- al beer account that had my name in it – ‘HeineKEN.’ Hey , it’ s th e little things in life,” says Ratcliffe. Ratcliffe thinks the trend to hire people outside of ad vert ising wi ll only g ain momentum: “Hollywood is a tougher gig. The bar i s higher. Just like f ilm is above T V, TV i s above advertising. It is only natural to want to attract new, pot entially better talent that perh aps t hinks a little differently than sa y the tr adi- tional adverti sing crea tiv e. You know what you’re going to get with a traditional ad guy; people want to see what els e is out the re and I think with that p otentially bi gger Droga: “A lot of people misinterpret that as getting a lot of eclectic people to do cool stuff, there’s always a purpose when we bring these people in. At the end of the day I am looking for people who are grounded in advertising and marketing, people who understand storytelling so the core of who we are is always going to be advertising traditionalists.” change can come,” Ratcliffe says. “Look at Hollywood – now major film stars are doing TV, something that was unh eard of five or ten years ago when a film star wouldn’t be caught dead on the small screen. But now they are getting paid mil- lions to star on TV. Money will find the talent. It always does.” His Hollywood experience comes in handy in advertising, not least because he had to tough en up – Hollywood is a hundred times more cutthr oat and the re is very little room for error: “I’d have to rewrite things at a momen t’s notice and was usually up against really really smart guys. Harvard boys and what not. And if the live studio audience didn’t laugh in rehearsal, you had to fix it before the cameras rolled,” he says. “Now I have a couple of weeks to get it right. At least. And then they test it to make sure its moron proof. So while others may feel the pressure, to me, it’s easy. I feel like I could have two more jobs, but appar ently t hat ’s fr own ed upon.” Ratcli ffe says a fter Hollywood nothing in advertising scares him, making him a v ery confident cre- ative director: “It’s a lot easier to do this job when deep down you know SEP T E MBE R/OCT OB E R 2 0 08
Awards Dec 2008