Impact. Memorability. Relevance. Originality. These are the criteria by which I’ve always judged an idea.

Impact. Memorability. Relevance. Originality. These are the

criteria by which I’ve always judged an idea.

They’re all equally important. It’s just that originality is more


Originality is the lifeblood of the creative. So it’s hardly a great

surprise that the Guinness scandal and Gillian Waring/VW debacle should

create such a furore. The ability to generate the new idea, and command

ownership of it, is where the power really lies. But what constitutes an

original idea? Is the new Fast Show/Holsten Pils campaign original?

Or indeed an idea?

What will consumers make of the work? Will they see it as their

favourite irreverent sketch show, seamlessly endorsed by their favourite

irreverent beer brand, or a crude marketing ploy that adds little to the

integrity of the original creative product? All of which brings a new

meaning to the Original Pils. I welcome this development. This is just

the start.

And so to the integrity of this week’s pick of the crop.

The latest Stella Artois commercial comes on the back of an intriguing

foray into prominent TV-movie sponsorship and a wonderful screen in the

park initiative. Both of which detract from the ’reassuringly expensive’

claim and the ad-making budget presumably. Fear not. The latest ad is as

beautifully crafted as ever. As Levi’s draws a close on its seminal 501

campaign, Stella and its agency should be guaranteed a stage full of

craft awards from the Grosvenor House if nothing else. Why, they might

even make a feature film next. I wonder.

Rubberstuffers has produced a commercial for its condoms and lubricants

and an enormous amount of ’free’ publicity besides. Horror of horrors,

it features a gay kiss and fondle. It’s all a bit tame, really.

Considering this is part product sell and part HIV initiative, it’s a

shame the powers that be couldn’t have sanctioned pictures that owe more

to reality and less to the world of Harry and Henry.

Gurning - the art of turning your face inside out to produce a visage so

ugly Peter Beardsley would be jealous - has been employed to great

effect in the Bonjela mouth ulcer poster campaign. Unfortunately, the

striking photographs are sympathetically matched to an equally ugly

layout and typeface choice. Which is a shame, as a re-art directed,

portrait-formatted poster would work a whole lot harder.

Considering the vast mounds of wonga that Hooch has made for its parent

company, Bass, you’d think it would be deserving of slightly more

ambitious support than two single-colour pages. This work is reminiscent

of what happens when a junior team resurrects student work before

briefing a top still-life photographer to add the polish. The result

sits unhappily between the pages of Loaded but is not, I suspect, so out

of place in the snapper’s book.

In the list of prerequisites for a roll-on deodorant, ’quick-drying’ and

’large ball’ come near the top. So Sure would have us believe, in a pair

of commercials with unusually high production values for this


I’ll remember them for two reasons: 1) The now obligatory, intercut

white flash frames. 2) The fnaar fnaar big ball joke.

Finally, the best of the week. I love the Sky campaign and this Sky

Sports ad is the best yet. Superbly cast, everyone is characterful

without being a caricature (a trap so many directors fall into at the


The performances are restrained but still endearing and funny. The

director has pulled off a fine balance of restraint by letting the

performance live on its own merits. The titles and voiceover are

elegantly handled.

It’s so good to see a client - who many thought was of the pile ’em

high, sell ’em cheap school of advertising - commissioning such

high-quality work. Arguably a tougher job to direct than the Stella

film. In short, it has everything I love in an idea: impact,

memorability, relevance and originality.

Reckitt & Colman

Project: Bonjela

Client: Heather Lowden, regional category manager

Brief: Show that Bonjela understands the trials and tribulations of a

mouth ulcer sufferer

Agency: DMB&B Writer: Richard Russell

Art director: Carl Le Blond

Photographer: Jack Daniels

Exposure: National posters and tube cards

Elida Faberge

Project: Sure Big Ball

Client: Sylvia Lagnado, marketing director

Brief: Reaffirm Sure’s number one position in the roll-on market by

telling people it’s bigger and better

Agency: Ammirati Puris Lintas

Writers: Geoff Dodd, Michele Stewart

Art directors: Greg Harper, Melanie Foster

Director: Bharat Nalluri Production company: The Mob

Exposure: National TV


Project: Rubberstuffers

Client: Greg Page, marketing director

Brief: Encourage gay men to prevent the spread of HIV by using

Rubberstuffers condoms and lubricants Agency: Mitchell Patterson Grime


Writer: Fabrice Ward

Art director: Monty Verdi

Director: David Betteridge Production company: The Shop

Exposure: National TV and cinema


Project: Stella Artois

Client: Tracy Darwen, marketing manager

Brief: Stella is a lager of supreme quality and worth

Agency: Lowe Howard-Spink

Writer: Paul Silburn

Art director: Vince Squibb

Director: Jonathan Glazer Production company:Academy Films

Exposure: National TV and cinema


Project: Sky Sports

Client: Scott Menneer, marketing manager

Brief: Sky is dedicated to, and shares your passion for, sport

Agency: M&C Saatchi Writer: Pete Cain

Art director: Louis Bogue

Director: Paul Gay

Production company: Outsider

Exposure: National TV and Sky


Project: Hooch

Client: Mark Hunter, marketing director

Brief: Express that Lemon Hooch is sharper than other drinks

Agency: Euro RSCG Wnek Gosper

Writer: Jane Brooks

Art director: Nick Klinkert

Photographer: Stuart Duff Typographer: Lynne Macintosh

Exposure: Style press


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