PRIVATE VIEW

Picture the scene if you can: I’m sat in the Clarks project room at St Luke’s, about to review the week’s offerings. A low growling from the corner of the room indicates the presence of Hearn. People often assume that the special relationship of a creative team (particularly one that’s aged for 12 years) is one of perfect harmony. Two minds thinking as one.

Picture the scene if you can: I’m sat in the Clarks project room at

St Luke’s, about to review the week’s offerings. A low growling from the

corner of the room indicates the presence of Hearn. People often assume

that the special relationship of a creative team (particularly one

that’s aged for 12 years) is one of perfect harmony. Two minds thinking

as one.



How wrong. How terribly wrong.



As I press the eject button on the first ad, for Open, the growl

indicates Hearn’s approval. He appears to like the way that it explains

a complicated piece of technology simply. I, on the other hand, think

that it’s a shame to have an ad with a voiceover claiming that this is

the biggest revolution since the invention of the television itself,

while at the same time looking like every other ad on TV. Which isn’t to

say it doesn’t look good - most ads do nowadays - it just isn’t

different.



Next up is Virgin Net, another techie subject, this time delivered lock,

stock and two smokin’ barrels by a bloke just out of the nick. It’s an

’enjoy your freedom to a fast music track’ kind of effort. Anyway, it

looks nice. Hearn butts in, ’wookie-like’. I translate this as him being

unconvinced by the actor’s jailbird credentials and decide not to probe

further. Best not to know.



We move on to Network Q. The reliability route is a risky one to take,

when Volkswagen does it so relentlessly well, but it makes Network Q

look like a quality outfit and it looks nice. A rumble from the corner

would appear to indicate agreement from Hearn, but on closer inspection

he’s just nodded off.



Ahhh, Nescafe. This brings back memories for Hearn, one of his first

ads, and I must say they could do a lot worse than rerun that ’Beetle’

ad. Back in the present, though, we sit through La Van Outen’s

performance, which isn’t bad. She looks nice and it’s a definite

improvement on the Ian Wright execution. ’Not as good as the Ian Wright,

right, right one,’ Hearn grunts. Typical.



The Thomson ads seem to have us more or less in agreement. The bits

representing the bad holiday experience also represent some good

insights, we both like the ’soap’ music and we both think the smug git

at the end should be packed-off on a long-term holiday somewhere.

However, it’s too good to last and we disagree on where he should be

sent. I’m for Siberia, Hearn feels Detroit would do the trick.



Finally, the Ericsson T28. Bloke breaks down on country lane. Bloke

phones AA on mobile. Aliens beam bloke on to spaceship, along with cow

and mobile. Aliens assume phone is intelligent one, as phone is so small

and bloke can’t flip open like phone can. Since phone is now established

as intelligent leader, alien eats it. Hmm.



Now don’t get me wrong, I don’t disagree with the premise of small one

equals leader, particularly when small one is female. If you redub the

’soap’ music from the Thomson ad on to this one, you might just have

something.



On second thoughts, naaaaahhhh. It’s pants. Euro pants. Hearn barks his

agreement, goes back to sleep and a moment of perfect harmony descends

over St Luke’s.



Ahhhhhhhhh ...



Kate Stanners is joint creative director of St Luke’s



Ericsson

Project: T28

Client: Lindsay James, advertising manager

Brief: Announce the launch of the Ericsson T28 mobile phone

Agency: Hall & Cederquist/Young & Rubicam, Sweden

Writer: Ron Saltmarsh

Art director: David Ayriss

Director: Erich Joiner Production company: Tool of North America

Exposure: National TV and cinema

Nestle UK

Project: Nescafe Original

Client: Don Howat, consumer marketing manager

Brief: Nescafe Original is the quality coffee for celebrities such as

Ian Wright and Denise Van Outen, and non-celebrities alike

Agency: McCann-Erickson London

Writers: Jerry Green, Mike Lawrence and Andy McAdie

Art director: Andy McAdie

Director: Paul Gay Production company: Outsider

Exposure: National TV

Vauxhall Motors

Project: Network Q

Client: Martin Brown, brand manager

Brief: Raise the standard in used-car quality Agency: Cogent Writer:

Peter Russell

Art director: Richard Payne

Director: Daniel Barber Production company: Rose Hackney Barber

Exposure: National TV

Thomson Holidays

Project: Year 2000

Client: Chris Gottlieb, advertising manager

Brief: As Britain’s number one holiday company, Thomson has recognised

the changing needs of holidaymakers

Agency: HHCL & Partners Writer: Owen Lee

Art director: Gary Robinson

Director: Jesse Peretz Production company: Cowboy Films

Exposure: National TV

Virgin Group

Project: Virgin Net

Client: Jo Peat, head of marketing

Brief: Position Virgin Net as the UK’s premier entertainment and leisure

site

Agency: Archibald Ingall Stretton Writer: Matt Morley-Brown

Art director: Steve Stretton Director: Jon Greenhalgh

Production company: Godman

Exposure: National cinema

British Interactive Broadcasting

Project: Launch of Open

Client: James Ackerman, chief executive officer, Nick Mercer, marketing

director

Brief: Establish Open as the interactive TV service

Agency: Ogilvy & Mather Writers: Marcus Vinton, Dave Williams

Art director: Kelvin Tillinghast

Director: Carl Prechezer

Production company: Rose Hackney Barber

Exposure: National TV



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