9th August 12
This piece was originally published in Creative Circle’s 2012 Annual last month. It’s packed full of advice from the great and the good, with special mention to our own John Hegarty and also to Ben Kay on how to write an advertising blog. You can buy a copy of the annual in magazine form here.
Author: Nick Gill, Executive Creative Director, BBH London
‘Creative’. I’ve never really come to terms with this word. The very notion that some people are defined as creative, whether by trade or persuasion, I still find strange. Even if I wasn’t creative the last thing I’d do is admit to it.
When I was at school I never thought of myself as a creative person. Just someone who could draw and paint quite well. And these basic skills would be my ticket out of obscurity.
But growing up I soon realised that for all my talent I was never going to be an artist. It wasn’t that I wasn’t good enough. I just wasn’t made that way.
Because someone had tuned my brain to solving problems. Give me a blank sheet of paper and I’d break out in a cold sweat. Ask me to draw a picture that included a giraffe, a lawn mower and a magic carpet and I’d enjoy working out how to cunningly weave these three seemingly disparate objects into one satisfying image.
I went to art college in Manchester. I stood in the graphic design studio on day one, waiting for a tutor to read out my name. But it never happened. This is because they had me down for another course. One entitled ‘Design for communication media’. ‘What’s that when it’s at home?’ I enquired. ‘Advertising’ came the reply. And that’s how I got into this business. I fell into it. Like a drunk tripping over a chair leg and landing in the arms of Charlize Theron. I am one lucky bastard.
Because advertising is a great career. And ‘creative’ is a truly wonderful way to go through life. To make money out of your imagination is as exciting as it is scary.
What have I learned from my time in the business? Here are a few things that might help. Read full post
19th July 12
Authors: Fran Hazeldine, Head of Strategy and Pelle Sjoenell, Executive Creative Director, BBH LA
A few weeks ago we asked Planners and Creatives from a range of agency backgrounds to fill out a short survey about the Planner / Creative relationship.
As promised, we’ve got some results to share. If you like your slides with added innuendo, our Planningness presentation is available here. But it’s quite minimalist and really needs the voice over, so we’ve summarized the main findings below.
A few notes on the sample
The 324 respondents were a mixture of self-selecting BBH Labs readers, people from our extended professional networks and anyone else we could persuade to take part. So there are probably all sorts of research effects that mean you shouldn’t take any of the results as hard fact – more food for thought and discussion.
What do we know about the survey respondents? Not surprisingly, we had more Planners than Creatives. And the Creatives tended to be more experienced and male. There was also a heavy North American and European skew across the board.
But despite collecting a mass of demographic info, the results we’re sharing are not split out by gender, age or region. We tried cutting the data along these lines, but any variation was remarkably unremarkable. So instead we’ve focused on the simple comparison between Planners and Creatives, which turned up some much juicier stats. Read full post
5th July 12
Last month Google asked me along to their Creative Sandbox in Cannes to give a ‘lightning talk’ about ‘something I was particularly interested in’. Luckily, they gave me just 15 minutes to speak or we would have been there all day in the baking heat.. Thank you to everyone who came along and asked lots of questions afterwards – here, for what it’s worth, is a record of what got discussed.
I’d like to talk about 2-3 things here, loosely connected by a theme around how and why we should keep contributing to, using and building the open web:
1. The Guardian, the UK newspaper (a client of BBH London) and their ‘open journalism’ positioning.
2. A project we’re developing at BBH Labs called Robotify.me.
3. A postscript on how we like to work here and what “open and constant learning” means in practice.
19th June 12
Author: Ross Berthinussen, Strategy Director, BBH London
At 11 o’clock this morning, we premiered the launch ad for our new Olympic campaign for British Airways on Facebook. At 7.35pm GMT this evening, it will be broadcast to the UK, just before kick off in England’s critical, final group game in the Euros.
The campaign is a rallying cry for Britain to stay at home during the London 2012 Olympic and Paralympic Games to support the national team. Just this once, when its country needs it most, when the Olympic Games comes to London, Britain’s national airline is telling Britain not to fly.
Even with its tongue in cheek tone, it’s a bold move. I thought I’d share some of the thinking behind the campaign and some things we’ve learned along the way.
We’ve had a turbulent journey with BA over the last six and a half years. We’ve been with them through the PR disaster of T5, fog, volcanic ash, the recession and industrial disputes. But right now, confidence is high. They have new leadership, they’re financially solid after the merger with American and they’re reinvesting in the customer.
Our communication has had a job to do to help restore this confidence – to rebuild pride inside the organisation and the emotional connection the nation has with its flag carrier.
In September last year, the airline recommitted to “To Fly. To Serve”, a motto that has lived in the organisation for over fifty years, with a campaign that celebrated the people who live their lives by this ethos. We followed this fast with a campaign in February that heroed the BA team who were ready to welcome the world to London for the Olympics.
Our body language over this time has been critical. To instil confidence we had to act with confidence. We bought big TV spots, press insertions and outdoor sites. We had the confidence to lighten up. We featured an orangutan and racing baggage in our ads. This summer billboards across London will rally Britain, “Don’t Fly. Support Team GB”.
Build in reward
We hope people are going to lean into this idea: we’ve got a series of high profile TV spots this week to build conversation; with the British Olympic Association’s backing we’ve persuaded members of Team GB and Paralympics GB to share the ad – so a lot of people will hear about it first from the athletes; and hopefully the nature of the idea will spark interest and debate.
So we wanted to build reward in for those who want to get a bit closer.
We’ve created a customisable version of the TV ad online in which you can enter your postcode and, using the Google Streetview API, watch a version of the film with the plane taking a detour down your street. To premiere the ad this morning, BA’s facebook community were asked to first enter their postcode to receive a personalised version of the film.
We’ve made a documentary with Michael Johnson, Sir Clive Woodward, Denise Williams and Shelly Woods, that explores the difference it makes for sports people to compete on home soil with a nation behind them.
The ad itself has scenes that reward multiple viewing – like the old lady onboard who checks the time on her watch as she passes Big Ben.
And we might have made a short film that suggests there might have actually been a plane driving through Richmond Park – whilst making a nod to the Fenton viral.
Do vs. say
We obsess a lot at BBH about getting to different kinds of ideas. Asking what can we do, rather than what can we say, seemed a good place to start here. The creative brief for this idea was, “what can we do to show our support for Team GB?”
Have a point of view, start a conversation
We got to the idea of telling Britain not to fly early. It became grounded when we listened to an ex Olympian talk about the concept of the home advantage. This gave the brand a point of view on the Games and the guts of our campaign. All our activity invites you to join in with #homeadvantage.
Get everyone onboard
There are over 40,000 people working at BA. There was a chance that they might not like us telling people not to fly. We needed them to understand that this was the ultimate expression of our support for Team GB, that it would help build the brand and that people wouldn’t take us too literally. So BA have been running a huge internal programme to get them onside and share the thinking behind the campaign.
We’re telling people not to fly but we still need to sell flights. Whilst we can’t be seen to promote travel over the Games we can offer money off flights and holidays to get away afterwards – this idea actually came from our client in the meeting when we first shared the idea.
Be generous (and dodge the tornado)
You have two fears developing a campaign as an Olympic sponsor. One, that you will appear cynical, simply piggybacking on the event for your own gain. Two, that you will be swept up in the tornado of other sponsors (and hi-jackers) vying for people’s attention and time. Brands trying to claim that they are also faster, higher, stronger. Or showcasing athletes using their products.
This campaign builds on a series of things BA have been doing over the last few years to support Team GB and Paralympics GB, including flying the team and its equipment around the world, which has built credibility in this space. We hope that this Olympics, by zagging when everyone zigs, by having the courage to admit that the fortune of the British team is more important than buying our product, we will not only dodge the tornado but be seen as genuinely contributing to the performance of the British Team.
We couldn’t have got here without a brilliant relationship with a very brave client, a talented BBH team and the support of a tight team of agency and production partners including Zenith Optimedia, IMG, Cake, 12th Floor, Partizan, Framestore, Stitch, Angell Sound, Black Sheep Music, Google and Paul Zak at Burnham Niker.
(And, it goes without saying, if you’re British and reading this, please consider staying at home and supporting Team GB and Paralympics GB during the Games. Your support could be the difference between silver and gold).
15th June 12
Author: Jim Carroll, Chairman, BBH London
I attended a talk by the top Royal Ballet choreographer and dancer, Liam Scarlett. He is only 26, but he has already choreographed two exceptional ballets for the main stage at Covent Garden. And he still finds time to dance in the company.
Scarlett was discussing how he approached creating his 2011 work, Asphodel Meadows, around a particular piece of music, Poulenc’s Double Piano Concerto. One could be intimidated, he said, by the scale and complexity of the Concerto. Where to start? How to break into the task? Whereas with narrative ballet there is a natural sequencing to follow, with an abstract work there is no obvious entry point. He explained that his own process was first to identify the ‘epicentre’ of the music, its emotional core. He knew that if he could just design the pas de deux around a particular romantic passage in the second movement, everything else would follow. Having got to the emotional heart of the music, he could work outwards to the rest of the piece.
I am often in meetings nowadays when a Client demands an idea that is media neutral, that extends across every channel, region, product and form of engagement. All the colours, in all the sizes. Such a panoramic demand can be rather intimidating. And I have found that telling the Creative Department we need to cover the walls with ideas is not entirely helpful.
I suspect that, following Scarlett’s lead, the key to cracking this kind of challenge is not to consider it in its totality or in the abstract. Ideas tend to be born in the specific. The key is to find the epicentre of the task, to find its emotional heart. Read full post
21st May 12
Author: Jim Carroll, Chairman, BBH London
Memories light the corners of my mind
Misty,water colored memories
Of the way we were.
~ Barbra Streisand, The Way We Were
I attended the Damien Hirst show at the Tate Modern. Flies and fags, butterflies and bling, spin and spots, drugs and death… There. You don’t need to see it now.
I walked away somewhat hollow. I felt a pang of guilt and recognition. Guilt because Hirst was in many ways the adman’s artist. Art that came with a nudge, a wink and a knowing punchline. Art as quick hit, shiny bright, paper thin. Recognition because, yes, that was Britain in the ’90s. Spin doctors and Spice Girls, boy bands and man bags, heroin chic and Shabba Ranks, lads and Loaded, puffas and Prozac, Wonderbra and Wonderwall, alcopops and Posh & Becks. Fool Britannia…. There was no god, no beauty, no other. Just money and death and irony. Things could only get worse…
I’m not sure I blame Damien Hirst. I suspect he’s a very good artist. He was very effectively holding a mirror up to us and our values. Or lack of them. And I suspect each generation gets the art it deserves. Flies and fags was maybe all we were good for in the ’90s.
Don’t you also think that we get the advertising we deserve? As an Agency, as a Client, as a culture ? When we hark back to a golden hued, bygone age of celestial communication, are we not condemning our own failure to create greatness now? When the disappointed Client fires the disappointing Agency, isn’t he or she shirking personal responsibility? When we rail against cruel fate and happenstance, when we bemoan the recession, or reach for the blame gun, shouldn’t we be looking in the mirror first?
I believe in commercial karma. That, broadly speaking, in advertising as in life, we reap what we sow. That what goes around comes around. Not for some spiritual, counter cultural, gaia-type reason. But because, though it seems trite to say it, in the long run, smart, open minded Clients, working with intelligent, lateral Agencies, for honest, worthwhile brands, will make better, more effective work. And vice versa.
I guess I have witnessed exceptions to this. The craven creative, the malevolent marketing director, the bullying business director have on occasion won the day. But overall in my experience fakes are found out, charlatans are shopped. Good prevails.
Instant karma’s gonna get you
Gonna knock you right on the head
You better get yourself together
Pretty soon you’re gonna be dead
~ John Lennon, Instant Karma
Of course in the past one had to wait for hubris to be followed by inevitable nemesis. Nowadays the social web has created a kind of instant karma. Because the courtroom of public opinion is so immediate and all seeing. It shines an unforgiving,instantaneous light on the ill conceived and poorly executed. It likewise rewards the virtuous with currency and value.
I had always believed that Corporate Social Responsibility was exactly that: a responsibility that a business owed to the communities it served. I wasn’t so enamoured of more fashionable phrases like social investment because I didn’t feel ethics needed commercial justification. And I wasn’t convinced CSR had a role in marketing or brand.
Now I have been persuaded that ethics are more than a responsibility. They are fundamental to a brand’s sustainability in a transparent, socialised world. Because increasingly consumers are unwilling to buy good products from bad people. Because in a world of commercial karma only the good Clients, good admen and good brands can win.
3rd May 12
BBH Asia Pacific Chairman, Charles Wigley, and Rob Campbell of W+K delivered their joint talk “Everything we know, is wrong” at The Asia Marketing Effectiveness Festival in Shanghai last week. Asked to be provocateurs, their talk (slideshare below) smartly tackles five flawed notions in one fell swoop: from ‘tv is dead’, ‘brand love’, ‘everyone wants to join in’, ‘pre-testing makes everything better’ and finally ‘London and New York know absolutely everything’. At Labs we particularly enjoyed the provocation of the last theme, which struck us as something not discussed nearly enough on these pages. If you’re someone with a client or simply a keen interest in Asia (so all of us, then..), then may we suggest – if you do nothing else – reading slides 64-81 of Chaz and Rob’s presentation below.
As Chaz himself puts it:
“We had what we knew would be a crowd pleaser in the East where we have both lived and worked for years, but may be less of one in the West. We’ll see. We firmly believe it anyway. Specifically we took on the notion that ‘West knows best‘. If you believe that culture significantly influences how people look at and interact with the world, then there is ample evidence that it causes Asian – more collectivist – consumers to interact differently towards brands and to read communications differently. Academia and our business are just at the start of understanding this one. But it’s going to be big. Read Richard Nisbett’s ‘The Geography of Thought’.”
TagsAdvertising BBH Barn creativity crowdsourcing design digital google Jim Carroll mobile participation social social media storytelling technology twitter
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