PRIVATE VIEW

Writing Private View in my current position - I’m on an unscheduled sabbatical - has one upside and two downsides. The upside is that, without the distraction of a day job, there isn’t the mad scramble to get it done. The first downside is: how the hell do I sign off the column, devoid as I am of a professional title (Andrew Cracknell, as I recall, was ‘on holiday’?). Downside number two is: do I have to be extremely nice about the work, bearing in mind that everyone is a potential employer?

Writing Private View in my current position - I’m on an unscheduled

sabbatical - has one upside and two downsides. The upside is that,

without the distraction of a day job, there isn’t the mad scramble to

get it done. The first downside is: how the hell do I sign off the

column, devoid as I am of a professional title (Andrew Cracknell, as I

recall, was ‘on holiday’?). Downside number two is: do I have to be

extremely nice about the work, bearing in mind that everyone is a

potential employer?



Just as I’m about to embark on some major sucking up, a voice in my head

reminds me of Bill Bernbach’ s words: ‘A principle isn’t a principle

until it costs you money.’



Better be honest. Burger King has abandoned the cosy approach. Gone is

the cheerful place where you can take the kids for something warm and

damp to eat. Instead, we’re in the future. Predictably, it’s a bleak,

dark sort of place. (Why does everyone think the world is suddenly going

to be reduced to rubble and turn monochromatic in the next century?) The

year is 2048, and pleasure is forbidden. All that’s left is a 16mm print

of an old Burger King commercial. A title says: ‘Aren’t you hungry now?’

Quite the opposite. This film made me lose my appetite. I don’t want

happy, smiley burger ads, but I don’t like them this downbeat either.

Still, it’s not aimed at me. And, anyway, I won’t give a toss if

pleasure is forbidden in 2048. I’ll be 101.



Birmingham Midshires features flying pigs. I can’t knock the idea - I

used it once myself. So it’s not exactly a first. (Nor was my effort, I

later discovered.) But there’s a twist to this that makes it a bit more

original and relevant - the ad is financial and the pigs in question are

piggy banks. The ad is wordy, as these financial offers usually are, but

the animation style makes a very watchable backdrop to the voiceover.

The best use of airborne porkers to date.



Gossard starts well. A neat parody of the John Smith’s jingle (for

‘widget’ sing ‘fidget’), with fast cuts of a girl struggling with an

uncomfortable bra. But the second half came as a jolt - a complete mood

change, with the obligatory sexy music and girl looking slinky in a new

bra. It seems bolted on. Or maybe that was deliberate, in which case I’m

not sure it works. I’d have gone for a smoother transition from witty

little ditty to the product bit. Easy for me to say. Difficult, I

suspect, to do.



ITV’s Beatles Anthology poster is a visual puzzle you can’t resist

working out if you’re old enough to remember the Fab Four. A coach with

a question mark on it. That’s the Magical Mystery Tour. A green pepper

wearing sergeant’s stripes. You’ve guessed it. A silver hammer?

Maxwell’s, of course. With the mini-proof in front of me, it was

enjoyable to do. But, as a full-size, 96-sheet poster, I’m not sure it’s

practical. The drive-by audience will only be able to glance at it,

which is a waste of a nice, involving idea.



Switch, on the other hand, is a textbook use of the poster medium.

Simple message - cash is extinct - expressed in an economical headline.

It’s punny, but it’s funny.



Finally, it’s Miller Time. They’re a brave bunch over there at Rainey

Kelly Campbell Roalfe. Rather than do a conventional beer campaign,

they’ve decided, of their own free will, to invent a TV programme.

Others have tried this. Others have failed. But Rainey Kelly has pulled

it off. First, they were serious about it and gave themselves three-

minute spots. Second, each spot is extremely well written and planned. A

clever balance between product sell and programme style. It’s good TV

advertising. And good TV.



Leno and Letterman look out..



Switch Card Services



Project: Switch

Client: Nigel Turner, head of marketing

Brief: Show that Switch is the modern, sensible way to pay

Agency: Collett Dickenson Pearce

Writer: Michael Burke

Art director: Phil Forster

Photographer: Tim Sullivan

Typographer: Karen Spinks

Exposure: National posters



Scottish Courage



Project: Miller Pilsner

Client: John Edwards, marketing manager

Brief: Give Miller Pilsner credentials that make the brand distinctive

and current

Agency: Rainey Kelly Campbell Roalfe

Writers: Robert Campbell, Mark Burton and John O’Farrell

Art director: Mark Roalfe

Director: Chris Bould

Production company: Talkback

Exposure: National TV



ITV Network



Project: ITV Network

Client: Eileen Gallagher, managing director, broadcasting, Granada/LWT

Brief: Promote the Beatles Anthology as a must-watch series on ITV

Agency: Grey

Writer: Michael Story

Art director: Simon Armstrong

Typographer: Jazz

Artists: Archer/Quinnell

Exposure: National posters



Gossard



Project: Ultrabra Perfection

Client: Laura Cannon, marketing director

Brief: Establish the comfort advantages of the new Ultrabra Perfection

Agency: Abbott Mead Vickers BBDO

Writer: Malcolm Duffy

Art director: Paul Briginshaw

Director: Adrian Moat

Production company:RSA Films

Exposure: National TV



Burger King



Project: Burger King

Client: Keith Snelgrove, director of marketing

Brief: Give Burger King a cool identity to appeal to 16- to 24-year-olds

Agency: D’Arcy Masius Benton and Bowles

Writer: Neil Williams

Art director: Ed Bones

Director: Big TV

Production company: Spots

Exposure: National TV, cinema and MTV



Birmingham Midshires



Project: Equity-linked savings account

Client: David Taylor, marketing manager

Brief: Launch new equity-linked savings account

Agency: Mellors Reay

Writer: Simon Tuke

Art director: John England

Director: Run Wrake

Animator: Miles Flanagan

Model-maker: Steve Wilsher

Production company: Bermuda Shorts

Exposure: Regional TV



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