It’s the morning after the night before. And, as the night before
was Creative Circle, you can imagine how I feel. Creative Circle was the
usual fascinating bash. People who hadn’t won complained about how they
could have produced the winners (but they didn’t, did they?). People who
won draped themselves over creative directors from other agencies.
Generous applause for popular winners like the immensely brilliant Polo
How I love this business of ours.
One of the things I don’t like about doing Private View is that Campaign
always tells you where the work came from. An agency’s reputation can’t
help but influence your opinion of its work. For instance, if DMB&B does
something brilliant, it gets marked down, whereas AMV’s less good work
basks in the agency’s reflected glory, to some extent.
Anyway, what of the work? Well, I’ve really, really tried to be nice.
But God, it’s been difficult.
Sunday Business has a very pretty ad showing the City at rest. The
message here is that if you actually think Sunday is a day of rest
’you’re already a day behind’.
All well and good but the ad left me with no clear sense of why Sunday
Business is better, or indeed different, from the Sunday Times. At least
with the Sunday Times you get comprehensive business journalism and nine
other sections to browse through when you aren’t working. But the film
is beautifully shot.
The new BP commercial has a little boy writing an imaginary letter to BP
asking why it doesn’t have petrol stations inside trucks so you can do
your shopping on the petrol station truck without having to stop
An imaginary man from BP answers the letter by saying that no, they
don’t have trucks with petrol stations on, but they do have petrol
stations with shops so you can go shopping. You have to stop your car
but, who knows, one day you may have petrol stations on trucks. The
endline is: ’We keep you moving’, which is exactly what I intend to do.
Although the little boy in the ad is very sweet.
Eagle Star is visually fresh and distinctive. Which makes it even more
disappointing that the script illustrates one of the hoariest old
chestnuts in financial advertising. Yes, it’s chickens hatching out of -
wait for it - nest eggs! But at least ... er ... um ...
Hallmark is very proud of its new ad. So proud that the film, called
’teardrop’, is preceded by a really interesting documentary. This gives
insights into how the film was made. For example, the ad does not rely
on natural light - electric lighting was used. The rain that bucketed
down was not real but created by rainmaking machines. The documentary
appears to target the Hallmark salesforce and the parents of the
creatives involved. As for the film itself, it’s a noble attempt to do
something we British have never been very good at: schmaltz. In the US,
Hallmark advertising has been based on sentiment for 40 years and has
been wildly successful. In this country, we never seem able to go for it
in a big enough way. The commercial did bring a lump to my throat - but
not the sort the agency had in mind, I suspect. On the other hand, the
leading man is well cast.
The latest Audi offering shows a page of the London A-Z projected on to
the new model. The ad tells you that ’the Knowledge’ is a standard
feature on the latest Audi thanks to an advanced satellite navigation
system. I know nothing about cars, so the message didn’t do much for
However, I admire Audi’s campaign so, while this isn’t the greatest Audi
ad ever, it’s my favourite in this week’s selection.
I thought at first glance that the Harley-Davidson campaign was for
Irn-Bru. It’s for one of the most exciting bikes in the world yet, in
its nostalgic ’if only’ tone, it seems close to many other campaigns for
cars and even (heaven forbid) for Chivas Regal. But what do I know?
It’ll probably clean up at next year’s Creative Circle.
Project: Audi A8
Client: Neil Burrows, marketing director
Brief: Audi is the world’s most progressive car company
Agency: Bartle Bogle Hegarty
Writer: Jeremy Carr
Art director: Tony McTear
Photographer: Jack Bankhead
Typographer: Andy Bird
Exposure: National press
Project: Relaunch campaign
Client: Steve Wigzell, marketing director
Brief: Relaunch Eagle Star as a no-nonsense provider of insurance and
Agency: Ogilvy & Mather
Writer: Mark Fairbanks
Art director: Mike Barker
Director: Chris Shepherd
Production company: Bermuda Shorts
Exposure: Regional TV
Project: Brand image programme
Client: not supplied
Brief: BP enables its customers to get on with their lives by keeping
Agency: Doner Cardwell Hawkins
Writer: Mike Sullivan
Art director: Gary Wolfson
Director: Joe Johnson
Production company: Industrial Light & Magic
Exposure: Regional TV
Project: Launch campaign
Client: Bert Hardy, chief executive, European
Brief: Demonstrate to top business people that Sunday Business will help
inform all their business decisions in the week ahead
Writer: Roger Holdsworth
Art director: Phil Chitty
Director: Chris Hartwill
Production company: RSA Films
Exposure: Regional TV - London and Meridian
Project: European campaign
Client: Michael van der Sande, European marketing director
Brief: ’Live for today’
Agency: Partners BDDH
Writer: Owen Lee
Art director: Gary Robinson
Photographer: Malcolm Venville
Typographer: Jason Ellis
Exposure: European national press and consumer magazines
Hallmark Cards UK
Client: By Arganbright, group marketing director UK
Brief: Hallmark helps us express our feelings
Agency: Leo Burnett
Writer: Nick Bell
Art director: Mark Tutssell
Director: Michael Seresin
Production company: BFCS
Exposure: National TV