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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : September October 2008
Watt: “What I am looking for, and what I did at Net#work, is I hired people and then I took them out of their comfort zone – I would ask a photographer to approach a print ad with the client’s business problem in mind.” Belgiovane: “The new school way is collaboration. So you get the client in and you kick around a few ideas. It’s a lot more fun for them, and a lot more fun for us.” what yo u ar e talking abo ut, o r at the very least, have delivered in the past when millions of d ollars are at sta ke . Be ing a c omedy wr iter allowed me to become an e xpert in consumers – o r at le ast allowed me to believ e I am, which is h alf the battle. I thi nk I know p eople a nd what makes them tick, what makes them lau gh or makes them cr inge or call bull shit. You lea rn how t o become the audience’s friend. And once they like you, they’ll like what you stand for. Beer doesn't have to taste good, i t just has to be likable enough to be at your table , a wor - thy drinking buddy.” Pat sy Pe ac ock, p rincipal of Sydney-based FBI Recruit ment - who opera tes o n a glo bal stage - says while she’s been hearing about the n eed to wid en th e creative department repertoire of staff, there hasn’t been much demand among Austr alian a gencies t o hi re tal ent from other creative fields: “When it comes down t o i t mos t ag enc ies might be t al kin g t his talk , but there’s not a lot of evidence of their intention i n t aking i t o n b oard, ” says Peacock. Peacock recalls trying to place an architect, an d a part fr om t he fa ct that creative directors wanted to see SE PT EMB E R/O CTO BER 2 008 a portfolio of advertis ing w ork – which the c andidate didn’t have – thos e ag encies that di d see t he potential wanted them to start at a junior l eve l and g o to AWARD School. She sees it as p art of a g eneral shortage of top-level creative talent as agencies grapple with the digital revolution: “Generally speaking the industr y has a huge sh ortag e o f good people across creatives, suits, planners – no one can find the level of p eople. There ’s a sens e o ther industries are attracting the creative talent that would h ave p reviously gone in to advertising. Ad vertising used to be seen a s gl amorous an d highly paid, but now it’s no longer seen in that light.” Pe acoc k occas ion ally g et s a request for a comedy wri ter, which is part of trying to make advertising more entertaining and to bring back a sense of humour: “It ju st hasn ’t worked with comedy wr iters f rom TV be cause the di scipl ine s are total ly dif fer ent. Bu t as co ntent moves away from the thirty-second commercials to longer format an d virals there’s not the time constraint and comedy writers are a lo t more relevant,” she says. Peacock thinks the ta lent a lready exists within the agency to come up with alternative ways of working within the digital age. For example, if a client wanted to do a d rama seri es on a mobile phon e, t he agency is capable of doing that and can haul in talent on a project basis if they need additional skills. Bringing in extra talent on a pro- ject level or extending the repertoire of your existing creative talent – an appro ach The Glue Soc iety ha s taken as it has expande d be yond traditional advertising – looks set to be the way the trend pl ays o ut in Australia. David ‘Nobby’ Nobay, co-founder and creative chairman o f Droga5 Australia, says there’s a snobbery prevailing in a dland whereby if you hire people who ha ve wo rked in advertising, somehow it’s a bit dull. “It would have been v ery t rendy for me to hire people who come out of very disparate worlds for the sake of it, but the reality is that I want to hire people who are just brilliant. At the moment the people I am talking to happen to be people in advertis- ing, but they are not your av erage advertis ing p eople if y ou l ook a t their work,” he says. He says the problem with the tra- ditional advertising mode l is that Ratcliffe: says after Hollywood nothing in advertising scares him, making him a very confident creative director: “Hollywood is a tougher gig. The bar is higher. Just like film is above TV, TV is above advertising.” it’s a model built on acquisition and a certain s ense of paranoia that if we don’t own you we can’t trust you: “It’s a model that was pretty much defined in the nineties when it was all about integration and get- ting all these disciplines under one roof which wasn’t necessarily about doing great work. It was about stopping the hemearaogi ng finan- cially which was going on in the big networks, which were seeing huge amounts of their potential revenue spinning out below the line,” says Nobby. “The model we all recog- nise that makes sense going forward is not the model of integration and under one roof and acquisition but the model of convergence. It’s not about integrating with pretty similar disciplines like sales promotion and direct, i t’s about linkin g up with completely foreign disciplines like fas hion , ar chi tect ure, pr oduct design and gaming.” Nobby says i t’s arrogant – and a little bit naïve – to assume the best people in gaming or product design or tho se at the c utting edge of music want to be acquired and run by an advertising agency: “That’s the p robl em with the traditi onal model right now because unless they have their name on y our ? CAMP AIGN B RIE F 31
Awards Dec 2008