It’s 1pm just outside of Minsk, Belarus. Its lunchtime and we’ve got Baloney and Potato soup, served kindly by the Babushka, who doesn't speak a word of English. We’re shooting in a plane hanger for our first TV ad for velcom, a Belarusian telecommunications company. Me and my copywriting partner have taken the train from Vilnius to Minsk to work on a campaign during our second month of a 1 year stint at DDB Vilnius, in Lithuania. Don’t worry, I’ve googled it so you don’t have to:
Archives for September 2016
I sat in one of the Miami Ad School NY's classrooms overlooking Brooklyn Bridge when I received an email from AKQA London inviting me to join them for a 3 month internship. I jumped up and called my family in Germany, making stupid remarks like “London calling!” - I couldn’t hold my excitement. I should have known back then that it wouldn’t be the last time I’d say those words. Surely enough, one month later (2014) I moved to London and fled the big apple just before a huge snow storm hit the East Coast.
It was 2011, and the second year of our Advertising & Brand Communication course at the University for Creative Arts (UCA), Farnham. Our lecturer had encouraged everyone to do work experience and gave us a six week window in which to find somewhere willing to take a punt on us.
I moved to Dublin from London a little under two years ago. My Irish girlfriend accepted a job in theatre production, and invited me to come with her. Dublin, and Ireland in general, has a great and thriving theatre scene, but that's a different article…
Here's the lowdown.
The YCC sent Fernanda Gasparin and Alejo Sassano (Creative team @ TJX Europe.) to the latest #CSPresents event, here's what they had to say!
We went to the ‘Agency 2020’ talks hosted at DigitasLBi thinking about the distant future. And then we realised… 2020 is only 4 years away! We were interested in knowing what the actual and future scenarios were for the agencies, and also excited to see all the speakers:
Ed Warren, Creative Partner, Creature. @creature_ed
Shanice Mears, Culture Executive, Iris Worldwide. @shannieloves
Brian Cooper, CCO, Oliver Group, ECD, Dare. @_briancooper
Liz Jones, CEO, B2B Dentsu Aegis Network and Exec Sponsor of Diversity & Inclusion.
Sam Conniff, Joint CEO, Co-Founder and Chief Purpose Officer, Livity. @samconniff
Ed opened the event talking about what will change. He did it by mentioning 5 assumptions that will die by 2020. They were: 1- Advertising agencies only make ads, 2- We’re in the business of selling time, 3- Our job is to write the work, 4- The creative team is two people with a book of ideas, and 5- Media and creative are separate businesses.
Then it was Shanice’s turn. Her talk was from the perspective of someone who is now part of the change. She defined herself as a new type of employee as she has a ‘new’ kind of role, one you don’t find in traditional agencies. Her views about 2020 was that some brands are already preparing for the future, adapting to the DIY culture and starting to give some space to the non-mainstream scenario. She also commented on how she sees work will be in the future: refreshed teams, younger workers, hierarchies will dissolved and work culture will tilt towards the employee.
Brian then continued the talk with an interesting insight. He compared agencies to Marshal Haig, an army officer who didn’t want to adapt and attempted to fight WWII with WWI ways, ignoring the technological advances that occurred during 20-something years. He then added what were the factors that are putting this changes in motion: speed of business, economics (being faster and cheaper), and ad literacy (now clients can come up with ideas too).
Liz then shared her thoughts on how to be the change. She introduced the new Dentsu Aegis Agency: fortysix. It was born out of 3 needs: to win in a changing digital economy, to be a force for good and to be a Jedi (all Jedis look different but are after the same goals while enemies all look the same).
Sam then concluded the talks by creating a conversation around how agencies and brands need to be reactive and how they need to write the future (through an interesting comparison with pirates). He also shared the challenges that agencies are facing, but then added that there are a lot of interesting changes that will happen: business models, customers, talent, leaders and markets are changing.
The event was finished with a brief Q&A. We left the talks with a lot to think about, and excitement for what will come (by 2020). We also would like to chip in the conversation about the different topics that were discussed. As we said before, 2020 looks like the distant future, but it’s only 4 years away. Will already established agencies be able to change in such a short amount of time? How did they manage to change before? How can we -as ad people- contribute to end the assumptions that the ad world carry nowadays? It is our job to assume responsibilities and be active.
Because as we already know, the world keeps spinning. And changing.
Fernanda Gasparin and Alejo Sassano. Creative team @ TJX Europe.
The safe route. The one you want them to buy. And something in between that.
It seems to be the norm now that we think we should present three routes to a client.
But when you’re presenting to a CD on a brief, you’ll probably have lots of ideas that’ll then get whittled down.
So why for student book crits have we been brought up to only ever show one idea per brand?
Not two, three, four or more different interpretations of a brief.
It seems odd that we assume students – before ever having worked in an agency – know what their best idea is.
Perhaps teams going to meet creatives should change the rules.
Heck, there weren't any rules anyway.
Go and present three routes to the first agency guinea pig.
Let them pick their favourite.
Then do it again to another agency team.
See if they all agree on the best idea.
Then put that one in your book.
Repeat until you get an awesome book.
Or a job.
Be different. Surprising. And out there.
Pitch people ideas for your book.
Not a book of ideas.
Newsflash - getting a job in advertising in London is a tough grind. It's even harder, if not impossible, to do it in a year after graduating even if you're a genetically engineered creative cyborg child prodigy, which I wasn't, but a foreigner trying to get a degree whilst navigating the bizarre social conundrum a.k.a the British party etiquette. A year spent on the Cornish cliffs had made me weak, and rabid pigeons and the Shoreditch twats had made me strong and weak again. One way or another, with a couple of placements under my belt and shiny new degree in tow, it was time to suck it up and head home*.
It was 3 days before my final hand in at university when I got a phone call from a random +65 number (that turned out to be the ECD) telling me that myself and my creative partner had been offered a place each on the BBH intern program in Singapore. Amongst the squealing and extreme happiness we managed to say yes.
I watched a man die on the streets of New York City. He was out jogging ahead of me in the bright summer sunshine of midtown Manhattan, when suddenly and without warning he fell over, quite plainly dead. If you’ve ever seen a real corpse before – as opposed to one on television – quite a few differences are immediately apparent. For starters, the skin takes on a waxy inhuman sheen, gauntly stretched across the skull. There’s a noticeable lack of inner fire, as if the embers of the human spirit have been perceivably extinguished to leave nothing but an uncanny husk. It’s like watching an early CGI movie; something is disturbingly wrong and you want to look away.
CALLING ALL STUDENTS. Did you make a film in the year for a university project? The British Arrows CRAFT 2016 submissions are now open. And for the first time in 20 years they've got a category for Best Student Commercial, to showcase emerging talent and award the future creators of moving image advertising.
If you enter your work will be seen by a Jury of the most relevant and forward thinking creatives in the advertising industry.
And what's also pretty damn cool is.... ENTRY IS FREE OF CHARGE.
- Your work must NOT have aired.
- The work must have been produced in conjunction with an academic course at a recognised university or a listed body for an actual product or cause.
- Work entered in this category cannot be entered in any other category, and must have been produced within the eligibility dates of 25 Sep 2015 to 24 Sep 2016.
- Students will need to upload a signed letter from their Course Leader confirming their eligibility along with the commercial.
Friday 23rd September 2016. So get your stakes on.
How to enter:
Head along to: //britisharrowscraft2016.awardsengine.com/submitentry/
Any other questions?
Head here: //www.britisharrows.com/craft-2016/