PRIVATE VIEW

Although the recent spate of musical chairs left me missing the good folk at O&M, especially Patrick Collister, the good folk here have made me very welcome, especially Mark Wnek, who was determined the music should play on. So off I went to LA, thanks to Mark Riley and Tim Garth, to meet a rather beautiful actress. It meant me looking at all this week’s work on my return a tad jet-lagged and, to make matters worse, I lost an hour somewhere as we went to British Summertime. I’ll just add it to the few I lost in LA.

Although the recent spate of musical chairs left me missing the

good folk at O&M, especially Patrick Collister, the good folk here have

made me very welcome, especially Mark Wnek, who was determined the music

should play on. So off I went to LA, thanks to Mark Riley and Tim Garth,

to meet a rather beautiful actress. It meant me looking at all this

week’s work on my return a tad jet-lagged and, to make matters worse, I

lost an hour somewhere as we went to British Summertime. I’ll just add

it to the few I lost in LA.



I suppose it was appropriate that the first commercial had all the style

of an old Hollywood ’Million Years BC’ movie. It was for Dairylea

Dunkers and shows a prehistoric monster dipping a young ’Fay Wray’ into

the cheese. It’s a good idea very well executed, even though it’s a

little reminiscent of Chewits’ ’King Kong’. The Dairylea you can Dunk is

a credit to all, especially the client, because, as we all know, they’ve

got to want good work in the first place.



General Motors obviously wants great work; it’s invited Rainey Kelly

Campbell Roalfe to work on Astra and added Alfredo Marcantonio to its

European creative team.



His talent and experience will, I’m sure, soon have more ads like this

Astra commercial on the GM reel. It’s brilliantly shot, with an

excellent Verve soundtrack. My only slight gripe is the ’At Vauxhall we

believe ...’ voiceover. It explains why the helicopters are flying all

those luxury cars around - because they are ’out of reach’ unlike the

Astra - but seems a bit heavy-handed. In fact it sounds a bit like the

voiceovers on all those American ’There is a company ...’ ads I saw last

week. I’m sure Marc’s VW training will soon have even the voiceovers

perfect.



I can’t believe the Ray-Ban client doesn’t want good work. It’s a great

product, a bit hip and trendy perhaps but that’s probably what led to

the trendy young Vampires watching the sunrise in this ad. They survive

thanks to their Ray-Bans and our young man without the glasses explodes.

It’s funny how some agencies, clients or directors get away with such

slight thoughts and others don’t.



It’ll probably come as no surprise to some of you that I’ve never read

Punch and these posters promising to tell all about sports bungs,

political scandal and legal irregularities have done nothing to change

my mind. Unlike the Gieves & Hawkes press work which as well as having

great photography, has real wit and style. I particularly like the line,

’One wears protective clothing, when swimming with sharks.’ I might give

Paul Smith a miss next time and get the stylish Adrian Holmes to take me

down Savile Row.



Before I left for LA, I’d seen the DETR press ads to persuade us to use

hands-free phones when driving and I wish I’d taken them with me.

They’re brilliantly written and art directed, creating really powerful

ads which might even persuade some of those billion cars on the

California freeway that there are safer things to do than pose on the

phone when hurtling down the road. As if being on the wrong side isn’t

enough. I’m glad our producer, Jane Edwards, was able to cope with the

driving in LA.



As well as the obligatory T-shirt I’d also brought my son hot news of a

fantastic new Nike spot with the Brazilian football team playing an

impromptu game at Rio airport, but he’d already seen it on Sky the same

night. Proof that clients can not only get great work when they want it

but that they can get it to work worldwide.



Have a nice day.



Billy Mawhinney is creative director of Euro RSCG Wnek Gosper



GENERAL MOTORS EUROPE

Project: Vauxhall Astra

Client: Patrick Dunster, director of advertising

Brief: Launch the Astra brand across 32 European markets

Agency: Rainey Kelly Campbell Roalfe

Writer: Robert Campbell

Art director: Mark Roalfe

Director: Gerard de Thame

Production company: Gerard de Thame Productions

Exposure: Pan-European TV, satellite and cinema

DETR

Project: Hand-held mobile phone misuse

Client: Tony Allsworth, head of publicity

Brief: Highlight the potential dangers of using a hand-held phone while

driving

Agency: Abbott Mead Vickers BBDO Writer: Malcolm Duffy

Art director: Paul Briginshaw

Typographer: Ian Hands

Photographer: John Offenbach Exposure: National press

BAUSCH & LOMB

Project: Ray-Ban

Client: Michele Sandford, marketing director for eyewear

Brief: Create awareness of the 1998 Ray-Ban range and position the brand

as cutting-edge to 18- to 30-year-olds

Agency: Delaney Fletcher

Bozell New York

Writers: Eric Allouche, Jill Dannenburg

Art directors: Paul Gold, Nick Ives

Director: Baker Smith

Production company: Tate Productions, Los Angeles

Exposure: National TV and cinema

GIEVES & HAWKES

Project: Gieves & Hawkes

Client: Mark Anderson, managing director

Brief: Position Gieves & Hawkes as the number one tailor on Savile Row

and therefore in the world

Agency: Rainey Kelly Campbell Roalfe

Writer: Robert Campbell

Art director: Mark Roalfe

Typographer: John Tisdall

Photographer: John Swannell

Exposure: National and business press

KRAFT JACOBS SUCHARD

Project: Dairylea Dunkers

Client: Nick Shepherd, general manager

Brief: Dairylea Dunkers, the Dairylea you can dunk

Agency: J. Walter Thompson Writer: Siggi Halling

Art director: David Mackersey

Directors: Mark Nunneley, Ray Harryhausen

Production company: Bermuda Shorts

Exposure: National TV and satellite

Punch Project: Punch magazine

Client: James Steen, editor

Brief: Promote the magazine’s sleaze-busting refocus

Agency: The Clinic

Writer: Dan Radley

Art director: Ken Ansell

Typographer: Luke Wakeman

Photographer: Johnny Rutter

Exposure: London Underground



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