Private View

Last time I did Private View, I didn’t actually do it. I delegated it to the luscious Sam Rice, my PA. Sadly, Sam has moved on to work in TV production. And Vanessa, my equally lovely new PA, is so busy sorting my life out for me that it would hardly be fair for me to ask her to take on Private View too.

Last time I did Private View, I didn’t actually do it. I delegated

it to the luscious Sam Rice, my PA. Sadly, Sam has moved on to work in

TV production. And Vanessa, my equally lovely new PA, is so busy sorting

my life out for me that it would hardly be fair for me to ask her to

take on Private View too.

In many respects, it’s just as well that neither of them can do it: you

see, they’re both very honest and down to earth. So I suspect that they

might have problems with the increasing insistence that, when you do

Private View, you have to be nice about the work that you’re


I don’t have any problems giving credit where credit is due. In fact, I

think the ultimate compliment you can pay any piece of work is simply to

say: ’Wow! I wish I had done that!’

Oh well, here goes. I’ll be as pleasant as I possibly can about this

week’s selection. It’s a fairly mixed bag: two press campaigns and four

TV pieces. Advertising everything from chocolate to cars to


Two ads for Melody Maker are intrusive, fly-postery and presumably in

tune with the average MM reader’s psyche. The tour guide on the

tee-shirt ad leaves me, well, a little less enthusiastic than I have on

occasion been about other campaigns. The ’Missing’ ad jumps out like

dog’s balls - I noticed it only this morning on a derelict building next

to the infamous doorway to Trade in Clerkenwell (I was passing because I

had nipped out for a few essentials - pork pie, fags, Diet Coke - and

not because I’d been to Trade). It’s a sweet thought, and the Viz-style

humour seems perfectly apt. Although whether the e-crazed clubbers at

whom it is targeted will be able to read it a 4am is anybody’s


TBWA’s campaign for Nissan looks different and stylish. It’s admirable

in that it relies on long copy and actually tells you something about

the car. I find this tremendously encouraging, because I am sick to

death of car campaigns that say absolutely nothing about the product and

expect consumers to blithely fork out 20 grand on the strength of an

ill-defined image. This campaign has several similarities with the great

Land Rover campaign that was produced by TBWA in its heyday. Distinctive

look, informative, original. The main difference, I think, is that the

Land Rover campaign got into the Book.

Kit Kat has been a famous and admired advertiser forever. These latest

ads are a witty and noble attempt to continue the tradition of creative

excellence in a shorter time length. By and large, they succeed.

British Airways, too, has always been a good client. The latest

execution is a charming, expensive extension of its ’cabin-crew as kids’

spot. It uses one of the greatest bits of music an agency ever employed

to great effect to demonstrate the advantages of the airline’s new

arrivals lounge.

The advertising is just fine - but is it enough to turn the hideously

tail-finned, indifferently staffed and loss-making BA around? Doubt


According to the latest Ford Escort commercial, if you invest in one you

can travel into the past so that primitive aborigines can admire your

vehicle before you speed into the future, leaving them to invent the


Or something like that.

The two BBC Sports & Events trailers, or idents or whatever they are,

are lovely. And not just because they are produced by my chums over at

the inimitable Circus. All I’d say about them is that they provide great

evidence that Circus should turn its incredible talents to producing

advertising rather than idents or promos.

This week, I’ve been good and kind and hopefully fair. I’ve even written

this week’s column to the approved length which means that I won’t have

enough words left to tell you about the time that I was on the Campaign

Posters jury and

Mike Court is creative director of McCann-Erickson

IPC Magazines

Project: Melody Maker

Client: Neil Robinson, publisher, Melody Maker

Brief: Constantly exploring music

Agency: Duckworth Finn Grubb Waters

Writer: Matt Lee

Art director: Peter Heynes

Typographer: Rodney Kavanagh Exposure: National posters and press

British Airways

Project: British Airways Heathrow arrivals lounge

Client: Sue Zerk, advertising manager

Brief: Better preparation leads to better performance

Agency: M&C Saatchi

Writer: Simon Dicketts

Art director: Peter Gatley

Director: Stuart Douglas

Production company: Four Hundred Films

Exposure: National TV

Nestle Rowntree

Project: Kit Kat

Client: Nicola Phillips, marketing manager, Nestle Rowntree

Brief: Evoke the need for a break in new ways

Agency: J. Walter Thompson

Writer: Siggi Halling

Art director: David Mackersey

Directors: Simon Drewitt (Mother) and Stig Bergqvist (Gossip) Production

companies: BFCS (Mother) and Nexus (Gossip)

Exposure: National TV

Ford Motor Company

Project: Ford Escort

Client: Mark Deans, brand manager, medium car and motorsport

Brief: Maintain Escort’s positioning as a genuine and practical choice

offering excellent value

Agency: Ogilvy & Mather

Writer: Mick French

Art director: Henry Rossiter

Director: Brendon Norman-Ross Production company: Outsider

Exposure: National TV


Project: Nissan

Client: Neil Burrows, marketing director

Brief: Generate reappraisal of the quality of Nissan as the best-built

car for the real world

Agency: TBWA GGT Simons Palmer Writer: Nigel Roberts

Art director: Paul Belford

Photography: Graham Ford and Laurie Haskell

Exposure: National press


Project: BBC Sport

Client: Andria Fidler, marketing manager

Brief: Demonstrate how BBC Sport is different from other sport

broadcasters by the depth and passion of its commentary and analysis

Agency: Circus Writer: David Prideaux

Art director: Tim Ashton

Director: Tim MacMillan

Production company: BBC and Mad Cow

Exposure: BBC 1 and BBC 2


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