Given that the kick-about in France has put national productivity on a par with the number of goals David Batty is likely to score, fair play to agencies for producing any work at all.

Given that the kick-about in France has put national productivity

on a par with the number of goals David Batty is likely to score, fair

play to agencies for producing any work at all.

In the new commercial for the Telegraph sports section, we see players

and supporters in the emotional aftermath of different games. Then, as

the names of various Telegraph journos appear on screen, we’re told that

the blood, sweat and tears begin after the event. The commercial is

nicely shot, but it’s a yellow card offence to credibly suggest that

it’s Michael Parkinson not Owen who sweats to get a result. I’ll stick

with the excellent Times sports section, which attracted me with the

fiendishly brilliant strategy of flogging itself for 10p.

I have driven past several posters for Ben & Jerry’s and generally been

in the next county before reaching the end of Jerry’s speech bubble -

further proof that on posters you can’t whip Beattie-esque simplicity.

Having finally read the posters, I’d say that a characterful brand with

some brilliant names (Cherry Garcia), and some refreshingly anarchic

writing on pack, deserves less random fnarr-fnarr and more

brand-defining wit.

The Birds Eye campaign is a sharper version of Oxo. In one, two bloke

teenage friends are microwaving a Birds Eye meal in the kitchen while

silk-shirted Mum sashays about. When she leaves, one teenager says to

the other, ’I fancy your Mum.’ Because the

writing/acting/casting/direction is so good I didn’t know whether to

cringe or laugh, and the smart money says consumers will be similarly

titillated. It’s the kind of underplayed, empathetic idea which plays

perfectly with a brand as high and mighty as Birds Eye.

The Heinz campaign also relies on empathy, so the writing needs to be as

bang on as the photography. Of the two, ’great events of our time’ comes

closest. It’s a cute observation that, to a new parent, George sleeping

through the night is as important as lycra or tumbling walls. The

’things that make you smile’ execution isn’t half bad, but is seeing a

’cat curl up in the sun’ as telling as the bikini line?

The Campari commercial has the endline, ’Bitterness mixed with

pleasure.’ Having half-inched some diamonds from someone’s front room,

an obviously stylistically challenged burglar can’t resist nicking a

cherry silk jacket.

He makes the further misjudgment of wearing the thing to a club, where

he’s spotted by the Mafioso-type character who spent black money buying

it. Clearly, the Mafioso is going to get his ball-wrenching revenge. The

commercial is well shot, the music is good (ie not obvious) and you can

safely ignore the over-literal endline. The intended take-out is that

people who drink Campari are as hard as Ince. Product problem is,

everyone knows that people who drink Campari are as hard as Anderton.

This commercial on its own won’t shift attitudes, but another two or

three along the same lines might.

Next up, the charming British Airways campaign tells us that you too can

win a flight on Concorde. In one of the commercials, the teacher asks an

eight-year-old girl what she did at the weekend. When the girl replies

that she had a flight on Concorde, she’s made to stand in the corner of

the class because, surely, she’s fibbing. What a great dramatisation of

the endline, ’An unbelievable offer.’

Next up, Colombia, whose output always gives people a buzz at D&AD.


Project: Heinz baby foods

Client: Roger Hobbs, general manager of infant feeding

Brief: Unite the Heinz and Farley brands and position them as the expert

in infant feeding

Agency: TBWA GGT

Simons Palmer Writer: Jonathan Budds

Art director: Nick Hine

Photographer: Elliott Erwitt

Exposure: Parenting magazines


Project: Ben & Jerry’s

Client: Helen Jones, general manager, sales and marketing

Brief: Produce a distinctive personality for Ben & Jerry’s that aids

distribution, sales and image

Agency: Renegade

Writer and art director:

Alan Midgley Exposure: 48-sheets in London and the South-east, listings

guides, Evening Standard


Project: Daily and Sunday Telegraph

Client: Hugo Drayton, marketing director

Brief: Demonstrate the superior quality of the Telegraph’s sports


Agency: J. Walter Thompson

Writer: Chris Bardsley

Art director: Dave May

Director: Rupert Sanders

Production company: Tony Kaye & Partners

Exposure: National TV


Project: British Airways Concorde promotion

Client: Colin Whaley, leisure marketing manager

Brief: Harness the universal appeal of Concorde to drive

early booking promotion

Agency: M&C Saatchi

Writers: Simon Dicketts (school), Tim Harris (alibi)

Art director: Martin Casson

Director: Paul Gay

Production company: Outsider

Exposure: National TV


Project: Campari

Client: Chris Meredith, marketing director

Brief: Take away the cheesy, Lorraine Chase, sweetie drink image and

reinforce the red, masculine, bitter-sweet taste

Agency: Mellors Reay

Writer: Mark Rudd

Art director: Paul Surety

Director: Chris Palmer

Production company: Gorgeous

Exposure: National TV


Project: Birds Eye Ready Meals

Client: Andrew Beattie, general marketing manager

Brief: Birds Eye Meals satisfy today’s families

Agency: HHCL & Partners

Project team: Chas Bayfield, Jim Bolton, Nick Howarth, Mark Piper, Pete


Director: Tom Vaughan

Production company: Helen Langridge Associates

Exposure: National TV