CLOSE-UP: NEWSMAKER/MICHAEL CONRAD; Globetrotting Burnetts star prepares for Cannes

Michael Conrad has what it takes to head the jury at Cannes, Emma Hall writes

Michael Conrad has what it takes to head the jury at Cannes, Emma Hall

writes



Let’s get the introductions out of the way. Michael Conrad is the

chairman of the Cannes jury this year and the deputy chief creative

officer of Leo Burnett Worldwide.



Being a German is no passport to global advertising acclaim, which may

explain why Conrad is little-known in the UK, even though he clearly has

the pedigree for top international jobs.



Those who do know him respect his creative ability and leadership

qualities, and his assessment of his duties at Cannes betrays a pre-

occupation with both. He says his responsibilities are: ‘To build an

effective team of judges and to search out the ‘fresh’ ideas from among

the entries.’



Fresh ideas, Conrad insists, are the lifeblood of the industry: ‘In each

category, the judges will be looking for breakthrough work that portrays

a brand in a fresh, new way.’



The choice of Conrad suggests that Cannes’ organisers are looking for a

certain freshness this year too. After the controversy of last year’s

awards under the chairmanship of Frank Lowe, when a rowdy ceremony was

finished off by the judges’ failure to present a Gold Lion, who could

blame the organisers looking for a new approach from the chairman.



Gerard Stamp, the creative director of Burnetts in London, supports the

organisers’ choice. ‘Conrad has a lot of experience in chairing

committees. He does it very well and fairly and will make sure that

everyone gets a say.



In my experience, if people don’t speak in meetings, he will seek out

their opinions,’ Stamp comments.



Conrad thinks that being neither English nor American helped him to get

the post. A continental European perspective, he asserts, will add a new

dimension to the proceedings.



He also has a solid international background and travels frequently

around the world. ‘My experience goes beyond most people’s.



I have been working with creative directors in 60 different countries

for the past ten years, and I know all the different cultures,’ Conrad

says.



As a worldwide creative co-ordinator and troubleshooter for the Burnetts

network, he travels the world to keep up-to-date with creative standards

and the activities of his colleagues.



Conrad founded and heads Burnetts’ global product committee, which is a

rather grandiose moniker for a group of people who get together every

four months to watch the entire creative output of Burnetts’ 71 offices

worldwide.



At the end of each quarterly viewing, Conrad writes to all of the

network’s creative directors to pass on his comments.



Conrad’s creative reputation in Germany is unsurpassed. Jochen Rang, the

chief executive of the Campus network and a fellow German, says: ‘Conrad

is the best copywriter we’ve ever had in our country. Germany is never a

front-runner in the advertising world and Conrad is one of the few

Germans who has made a truly international career in the business.’



Conrad got into advertising by accident. He needed a job and gave a

friend a movie script he had written. The friend perceptively picked up

on Conrad’s talent and fixed him up with an interview at Young and

Rubicam, where he was instantly hired as a copywriter.



After a hesitant start, Conrad’s career rapidly took off. He moved to

Ogilvy and Mather and then, in 1972, started his own agency with fellow

copywriter, Walter Lurzer. The Lurzer Conrad agency had only been going

for three months when the nascent TBWA network persuaded it to become

its partner in Germany.



Two years later, the duo broke away to set up their own shop again,

which created prominent work for major clients such as Braun and Fiat.



Conrad says that by 1979 the agency had the best creative profile in the

country and was showing tremendous growth and momentum. The only thing

that was missing was the international dimension clients demanded. So

the agency merged with Burnetts that year. Six years later, Conrad was

called to the network’s head office in Chicago to become the

international creative director.



Although Conrad is proud of his achievements in Germany, he puts some of

his success down to timing: ‘The recession in the 70s was the best thing

for us, because it meant we could break into the system and get business

from the big established agencies, even when accounts were

internationally aligned.’ In the end, though, Conrad and Lurzer realised

that for the business to achieve its full potential they needed to

create an international agency.



The resulting Burnetts link-up has worked well for Conrad, and he still

loves advertising. ‘It is a sexy business - I like creating things,

setting goals and motivating people. It is a big organisation and we are

making progress, although it is sometimes slower than I’d like.’



Conrad, now 52, is happily settled in his Chicago home, which he shares

with his wife, Helga, and their three children. When he isn’t working,

he plays tennis, enjoys the opera and is an active member of the board

of governors at the Art Institute of Chicago - a role that continues to

provide him with creative inspiration.



He says he likes Chicago because: ‘It is an exciting place, with

inspiring architecture and music, and a wonderful lake. The agency is

warm and friendly - everyone is a foreigner and we all live together.’



The US was a role model for Conrad when he started out in advertising.

‘It is a place of 1,001 icons - a country that believes in advertising,

where people are inspired by bold ideas,’ he says.



In the streets of Soho, a German who lives in Chicago does not

automatically command respect, but Conrad has a sense of humour and

could never be accused of taking himself too seriously. On one occasion,

when Stamp was attending one of Conrad’s committee meetings in Ireland,

at the end of the day’s business and after a few drinks, Stamp wandered

over to a piano and struck up a tune. Conrad leapt in with a guitar and

demonstrated his talent as a country and western musician.



Philip Morris is one of the two pieces of business with which Conrad is

most closely associated (the other is Procter and Gamble) and, by all

accounts, he has a number of the characteristics of the Marlboro Man.



He smokes Marlboro cigarettes constantly and has the tall, strong,

tanned presence of an advertising icon. This leaning towards Americana

is reflected in his advertising tastes, and his creative preferences can

veer towards the schmaltzy. For instance, Conrad’s favourite campaign

from Burnetts in London is the ‘birds and the bees’ series for

McDonald’s.



Rang is full of praise for Conrad’s influence across the Burnetts

network: ‘He has a reputation for creating advertising that is always

good, even if it’s not spectacular. The agency doesn’t produce dogs, and

he wouldn’t be happy with one or two outstanding campaigns if the rest

were rubbish - he strives for consistency.’



Mike Cozens, the creative director of Y&R and one of this year’s Cannes

jurors, reveals that Conrad is highly thought of throughout Y&R -

Burnetts’ arch-rival in the US. ‘There is the utmost respect for Conrad

in every country,’ Cozens says.



But Conrad admits he still has work to do. He is particularly pleased

with the progress made by the network’s Oslo and Bangkok agencies and,

although he is happy with the London team, he admits the agency still

lacks a ‘UK campaign that everyone talks about’. He continues: ‘It would

put the agency in better shape, and then its other work would be seen

differently.’



It doesn’t look as if Conrad will run out of enthusiasm in the pursuit

of his goals. Stamp praises his ‘fantastic, boundless, infectious

energy’.



Conrad is as committed as ever to advertising. ‘I couldn’t think of a

more interesting business,’ he muses, ‘and, anyway, I wouldn’t know what

else to do.’



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