My week starts at 8.48am as I grunt at the lady in Nero before spilling coffee all the way to the office.
After a brief stint of abuse for whatever knitwear I’m wearing followed by a riffle through the fruit bowl, workloads come in.
Now, apart from this weekly e-mail and the knowledge that at some point on Friday you will be having a beer, that is pretty much it for structure. Weeks move fast at VCCP and work gets turned over incredibly quickly, so literally anything can happen.
At that point, it is time to get down to it with my brilliantly sharp partner, Rupert de Paula. We are not one of those teams who agree on everything. Instead, we usually argue for hours in meeting rooms before eventually presenting our work, using our creative directors as referees. Most people don’t think this is very efficient, but we think two different opinions usually generate a more interesting set of ideas than the same one.
We have one rule that makes this work: back your boy. Once the idea that is going forward has been picked, you leave your personal opinion at the door and fight tooth and nail to get that idea bought, regardless of who came up with it.
The aim of the game at VCCP is to make something new and unexpected. I have never worked anywhere where the emphasis is so firmly rooted in doing something that has never been done before.
This week, I was shooting the England rugby team for O2 – a sentence I still can’t get used to saying. As a massive rugby fan and an ex-player, it’s safe to say it took a lot of self-control not to turn up to the shoot in full kit and boots.
I also forgot how young they all are. I’m often called a kid in the office, but meeting some of your heroes and realising that they could have been at university with you is just bizarre. They were awesome, and seeing them act out something we had written is definitely up there as one of the best jobs I have ever worked on.
After that, it was Wagon Wheels. In partnership with my fellow creatives Jack Finn and Jake Haynes, we have just finished a run of two different six-sheets to launch its new biscuit.
Now, I think print is hard. Big, sexy TV ads are great, but distilling your idea into a single visual that someone can get in three seconds is a real art form. And although I’d never be presumptuous enough to call our work art, I am incredibly proud of how it came out.
The rest of my time is filled with trying to be witty on Twitter, eating fistfuls of Fabulous Fingers and trying to come up with something that no-one has ever done before.
John Wilds is a junior creative at VCCP