PRIVATE VIEW

The Jaguar S-Type has been styled on the original Mark II. Its launch ad has also been styled on many an original. We see the photosonic shot of tyre through water (Dunlop), the upside-down frame (BMW), the rotating frame (Dunlop again) and the car in negative (Volvo V40).

The Jaguar S-Type has been styled on the original Mark II. Its

launch ad has also been styled on many an original. We see the

photosonic shot of tyre through water (Dunlop), the upside-down frame

(BMW), the rotating frame (Dunlop again) and the car in negative (Volvo

V40).



Unfortunately, when these shots get used again and again, they become

cliches. And when you employ every cliche in the book, you tend not to

end up in the book. Which is a shame because the launch of a fabulous

new car is an opportunity for a fabulous new idea.



The soundtrack is sexy and relevant - Shirley Bassey sings History

Repeating - but this is form over content, sauce without any meat and

definitely history repeating.



Michael Owen has a knack of scoring on debuts. Liverpool first team v

Wimbledon, Liverpool European debut v Celtic, England under-21s v

Greece. But on his first outing for Walkers?



With the launch of Cheese ’n’ Owen, Michael is on Gary’s patch. Gary

doesn’t like it and so tries to do away with him, only to come unstuck

himself in the end. The performances, mercifully, are good (I know what

it’s like standing behind a camera waiting to see if a footballer can

act) and it’s a smile. But I can’t help feeling the familiar slapstick

routine is more Cheese ’n’ Ham than Cheese ’n’ Owen.



The Land Rover Freelander campaign comes from an agency with a fine

tradition of car advertising. In many respects, these ads continue in

that tradition.



They’re nicely shot, simple and uncluttered. The photographs were taken

in Namibia but the all-important ideas, for me, don’t go nearly as

far.



Apologies, Roon. (By the way, I know it was a hell of a bunker shot but,

judging by the picture, I’d say your head’s coming up a tad early.)



A 30-second commercial tells us that Compaq is the computing behind 75

per cent of the world’s cash machine transactions. The claim is

illustrated, literally, by people using a cash machine. The ad is simple

enough but it’s unengaging and unmemorable. Consequently, it doesn’t

leave me feeling anything except vaguely irritated.



Dr Pepper, I know you desperately want us to try your product, but

please don’t tell us so blatantly. I sympathise with your marketing

problem - if only we’d try it, we might like it - but if you’re clever,

like Tango, you’ll remember to entertain us and then, when we’re

laughing with our mouths wide open, we might be more likely to swig from

your can.



I like some of the Ikea ’stop being so English’ work, particularly the

execution where the dreary middle-aged couple are having Sunday lunch in

a drab hotel. The strategy is distinctive but the ads would be bolder

for the absence of the stereotype Swede presenter. I’m sorry, I just

don’t find him funny.



Anyway, here we are again, analysing ads. They’ll be doing it in

research groups up and down the country this very night. But they won’t

be doing it in their living rooms when they’re watching TV. Which is the

point, isn’t it?



How many of our ads are really connecting, raising a smile, warming a

heart, provoking comment or polarising opinion? How many are really

cutting through, as they must? I know for a fact that Kes Gray’s, Dennis

Willison’s and Malcolm Venville’s outstanding NSPCC commercial is. My

mother’s been trying to raise funds for Childline and people keep

telling her they’ve already donated to the NSPCC.



Talking of outstanding, ’Good things come to those who wait,’ eh? So how

come I waited the extra seven days and Larry got to review that

astonishing piece of work two weeks ago?





LAND ROVER

Project: Land Rover Freelander

Client: Julian Whitehead, marketing communications manager

Brief: Own freedom with Freelander from Land Rover

Agency: WCRS

Writer: Andy Brittain

Art director: Yu Kung

Photographer: Glen Garner

Exposure: Magazines and weekend supplements

WALKERS

Project: Cheese ’n’ Owen

Client: James Boulton, marketing director, crisps

Brief: Launch the new, improved cheese and onion flavour crisps

Agency: Abbott Mead Vickers BBDO

Writer: Peter Souter

Art director: Mike Durban

Director: Paul Weiland

Production company: The Paul Weiland Film Company

Exposure: National TV

COMPAQ

Project: Hole-in-the-wall banking

Client: Vesey Crichton, marketing director

Brief: Raise awareness of Compaq

Agency: BMP/Claydon Heeley

Writer: John Webster

Art director: John Webster

Directors: Mario Cavalli, Dominic Griffiths, Mic Graves

Production company: Aka Pizazz

Exposure: National TV

CADBURY SCHWEPPES

Project: Dr Pepper

Client: Barry Phillips, vice-president,

international marketing

Brief: Let consumers know Dr Pepper is a great-tasting drink

Agency: Young & Rubicam New York

Writers: Chris Grabenstein, Jonathan Tell

Art director: Linard Peters-Smith

Director: Bob Giraldi

Production company: Giraldi Suarez Productions

Exposure: National TV

JAGUAR

Project: Jaguar S-Type

Client: Phil Cazaly, marketing director

Brief: Launch Jaguar’s S-Type as a uniquely spirited car

Agencies: J. Walter Thompson, Ogilvy & Mather

Creative directors: Ray Kelsey (JWT), Ross Sutherland (O&M)

Director: Frederic Planchon

Production company: Premier Heure

Exposure: Worldwide TV

IKEA

Project: Ikea’s new Bristol store

Clients: Francis Evans, advertising manager

Brief: Manage traffic during the launch period

Agency: St Luke’s

Writer: Andy Drugan

Art director: Simon Friedberg

Director: Remy Belvaux

Production company: Quad Productions

Exposure: HTV West



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1 Job description: Digital marketing executive

Digital marketing executives oversee the online marketing strategy for their organisation. They plan and execute digital (including email) marketing campaigns and design, maintain and supply content for the organisation's website(s).