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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : September 2010
THE INDUSTRY 20 CAMPAIGNBRIEF SEPTEMBER/OCTOBER 2010 and ways of working. “In Singapore we had clients who did work for the wider Asian mar- ket,” he says. “My work was trans- lated into different languages and ran across the entire region. I learnt to understand how culture can impact on how and what you say in advertising. I had a similar experi- ence in London with large clients who produced work that ran global- ly. The UK market also provided much larger budgets than I was ever used to in Australia and an incredible pool of talent to bring ideas to life without compromise.” Australian-born Monty Noble, ECD, The Brand Shop, who is part Aboriginal, also appreciated the cultural perspective gained while working in Asia for six years. He was based primarily in Hong Kong, but was involved in many regional projects out of Singapore, Shanghai, Taiwan and Malaysia. He’s also spent time in LA, New York and Asian offices (Hong Kong, Singapore, KL, Bangkok) as M&C Saatchi creative partner, Australasia & North America. He returned home when M&C Saatchi opened an office in Australia and he was employed as founding copywriter. “I’m not sure whether it got me a better job, but my time overseas surrounded by great people made me a better writer,” he says. Asia is another popular destina- tion among Australians. Dejan Rasic, ECD, Colman Rasic, has spent most of his career in Australia, with a year in Singapore and a year in London. He returned home because he had an offer to move back and work at BMF in its early days. Rasic thinks his international experience helped him get a better job in Australia by exposing him to different cultures ative officer of Y&R New York. He was away seven years when it felt like time to come home again. “And just when I started feeling that way I got a call from DDB Australia offering me the role of national creative director/vice chair- man. It seemed the stars were aligned,” he says. He thinks his international experi- ence helped him get a better job in Australia. “Absolutely. I think Australian agencies are extremely attracted to someone with global experience,” he says. Australian Warren Brown, ECD, BMF, also headed to the UK, where he spent 12 years before returning home to The Campaign Palace in the early 90s. He then co- founded BMF in 1997 with Paul Fishlock, a brit he partnered with at the Palace, who had come out from London to Saatchi & Saatchi, Sydney in the late 80s. (Fishlock left BMF in 2003 and soon after was appointed chairman and ECD of The Campaign Palace). After graduating from Swinburne University, Brown figured that if he wanted to get a top job or start his own agency, he had to learn from the best and at the time London was where it was all happening. He left Australia nine months after fin- ishing school. “The Campaign Palace tried to get me from London for nine years until I eventually said yes so I guess leaving for London paid off, ” he says. “I returned to Australia because I wanted to start an agency and didn’t want to commit to another 10 or so years in London. Also I was homesick and tired of being called a colonial.” Tasmanian-born Robbie Brammall, joint-CD, The Campaign Palace Melbourne, spent most of his career in Sydney, apart from working in London for two years and Auckland for 13 months. He believes working overseas definitely made him a bet- ter creative, which in turn helped him get a better job in the Australian industry. Both times he returned to progress his career. “Nonetheless, with a young family now involved, lifestyle and support networks are a huge issue. There is no better country to bring up our two young daughters,” he says. “This makes Australia an even more attractive option. The inter- national experience was fantastic. Working in London during my for- mative years was the best advertis- ing education I could ever have had. Auckland was completely dif- ferent but equally valuable. It was the most productive, frenetic and fun period of my career. But it was the productive bit that helped in terms of career progression. Producing lots of work of a certain standard is what gets you on peo- ple’s radars.” Australian-born, Paul Taylor, ECD, Samuelson Talbot, has spent the majority of his career in Melbourne, apart from four years in Europe – Saatchi & Saatchi London for two years and Saatchi & Saatchi Prague for two years. Claustrophobia prompted him to return home. “After growing up in one of the least populated places on earth and then spending over five years in one of the most densely populated cities, I just craved some space. I spent the first month back here playing golf and fishing. As Darryl Kerrigan said in The Castle, ‘How’s the serenity?’” he says. He’s not convinced his interna- tional experience helped him get a better job in Australia. “When I came back in 1996 there were many people who still believed Asia was the back water and so the work (even the stuff that had done well at international shows) was snubbed,” he says. “It’s a different story now, though. Thankfully, there were others who really enjoyed seeing a portfolio full of ads that they hadn’t seen in the local market. I’m grateful that Greg Alder (CD) and Stan May (CEO and massive shareholder) were two such people and that’s how I got a dream gig at Leo Burnett.” Melissa Peters, who stepped into the executive creative director’s role at Lowe Sydney following Mike Barnwell’s departure is an Australian who has spent the major- ity of her career in Sydney and Melbourne, apart from a stint in Vietnam. Peters worked at Bates Worldwide in Vietnam, as acting creative direc- tor to launch the country’s first pre- paid mobile card called Mobi4U. While she loved working in Asia, at the time she decided to return and set herself up in Australia after being offered a great position here. She thinks her international experi- ence helped her get that job. “Firstly understanding such a dif- ferent market such as Vietnam helped heaps,” she says. “I grew creatively very quickly over there as I was exposed to such new and inspiring markets. There’s nothing like jumping off a plane and having to understand a completely new audience who speak another lan- guage and live completely different lifestyles. In all my presentations to juniors, I always say it’s one of the best things they can do.” Sometimes you have to go over- seas to meet the people who’ll give you your perfect job back home, says Newcastle, Australia born Scott Whybin, chairman\ECD of Whybin\TBWA, who has spent most of his career in Australia with the exception of a stint in London in the 1980s at Abbott Mead Vickers and Mojo in the US. While he was in the UK, he met Ron Mather and Lionel Hunt (both British born, part of the first wave of UK imports in the late 60s - Hunt- and 70s - Mather) who were scouting for talent for The Campaign Palace, Melbourne. They offered Whybin a job, kick- starting a successful run at the Palace, then the country’s most cre- ative agency. He was made creative director at aged 26 where he worked until starting Whybins in the early 90s. Ogilvy Sydney Executive Creative Director Chris Ford (USA) BIGGEST AGENCIES: OZ DDB Sydney Creative Director Mark Harricks (Aus) M&C SaatchiSydney Executive Creative Director Ben Welsh (British) Saatchi’s Sydney Executive Creative Director Steve Back (Aus) BWM Sydney Creative Chairman Rob Belgiovane (Aus) Ogilvy Melbourne Executive Creative Director Michael Knox (Aus) DDB Melbourne Executive Creative Director Grant Rutherford (Aus) Clemenger Melb Executive Creative Director Ant Keogh (Aus) DDB New Zealand Executive Creative Director Toby Talbot (British) BIGGEST AGENCIES: NZ Colenso BBDO Executive Creative Director Nick Worthington (British) Saatchi & Saatchi Executive Creative Director Dylan Harrison (Aus) Ogilvy Executive Creative Director O’Leary/Christensen (NZ) DraftFCB Executive Creative Director James Mok (NZ) TBWA\Whybin Executive Creative Director Andy Blood (British) Mojo Executive Creative Director Lachie McPherson (Aus) Clemenger BBDO Executive Creative Director Philip ‘Duster’ Andrew (NZ) Clemenger Sydney Executive Creative Director Nagy/Spirkovski (Aus) Young & Rubicam Creative Director Vaughn Davis (NZ) Leo Burnett Sydney Executive Creative Director Andy DiLallo (USA) Sugar Creative Director Tim Huse (NZ) JWT Sydney Executive Creative Director Angus Hennah (NZ) JWT Creative Director Pete Ogden (Aus) Euro RSCG Sydney Executive Creative Director Rowan Dean (Aus) Barnes Catmur Executive Creative Director Paul Catmur (British) Grey Melbourne Executive Creative Director Ant Shannon (Aus) Droga5 Executive Creative Director Mike O’Sullivan (British) Whybin’s Sydney Executive Creative Director Bowman/Burton (Aus) Special Group Executive Creative Director Bradbourne/Jack (NZ/Brit) Mojo Sydney Creative Director Micah Walker (USA) Republik Creative Director Andrew Sims (NZ) %
May June 2010