To Greener Pastures

May 31, 2016 / Features

By Alex Reeves

How can production become environmentally sustainable? And what can it learn from Unilever?

Everyone knows the threat climate change poses to humanity. We’ve been hearing about it for years, with new scientific studies coming every month to remind us how serious it is. It’s easy to feel helpless in the face of it. So it was encouraging to see so many of London’s advertising production community gather at the Picturehouse Cinema on Shaftesbury Avenue last Thursday for a seminar hosted by AdGreen and the APA about making production more sustainable.

With AdGreen founder Jo Coombes hosting, presentations and discussion came from Richard Brooke from Unilever, Suzanne Dolan and Louise Smith from the BBC and Tracy Courtney-Wills from Palma Pictures – a panel of speakers who have all made proactive moves for sustainability in their businesses.

Just in case anyone in the room needed reminding, Richard started by showing what he described as a “doom-mongering video” (embedded below) about humanity’s unsustainable trajectory, heading towards needing between three and five planets’ worth of resources by 2020. “We cannot continue to do what we are doing in the way are doing it and hope to leave a legacy for our grandchildren,” he said.

Richard went on to explain the journey that Unilever have been on since they set their Sustainable Living Plan in 2010 – their goals to double the size of the business in ten years while reducing the company’s environmental footprint and improving its social impact. They still have a way to go, but considering they’re the second biggest company in the world, their changes have been impressive. They now sustainably source over 60% of their agricultural materials, their water usage has reduced by 1% and, while sales have increased by 26%, their greenhouse gas emissions have only risen by 6%. “We’re getting to where we need to be,” he said.

Crucially, he refuted the idea that sustainability is bad for business with several points. “Sustainable living inspires people,” he said. Unilever is the world’s third most in-demand employer according to LinkedIn and Richard argued that one of the key reasons it’s up there with the likes of Google, Apple and Facebook was its responsible culture.

“Millennials are becoming far more environmentally demanding,” he said. “They actually care. They don’t just pay it lip service.” This has also been a huge benefit to their sales, he noted, and their share price reflects that. 

Turning more specifically to the ad industry, he highlighted production’s key role in the sector. Having spoken to creative and media agencies, he’d realised that while they can reduce their carbon footprint by making their offices more sustainable, “ultimately they don’t make anything.” Production is where the big progress is possible. “You are at the sharp end, making stuff,” he said to the room of production professionals. “There’s never been a better time to do something about this.”

Richard gave his first sustainability presentation four days after his youngest daughter was born “She’s now six,” he said, “and I can almost guarantee that as a communications industry, in her six years we have not done enough. I’d almost say we’ve done bugger all. We need to ask what world we’re going to leave for these kids if we carry on behaving as we’re behaving.”

It’s definitely time for the ad industry to step up in this regard. But the tools for green production are gradually making it more accessible. Jo spoke next about albert, which exists to help the UK production industry transition to environmental sustainability. Started by the BBC, chaired by BAFTA and supported by the biggest production companies and broadcasters in the country, it offers the production industry tools for carbon emissions calculation and free sustainability education for anyone who works in production. They also offer the albert+ certification, which aims to reward production teams who have embedded sustainable principles into their shows, and allows these programmes to communicate their achievements with both the broadcasting industry and audiences.

By collecting data from over 2,000 productions, albert have calculated that one hour of television produces 4.9 tonnes of carbon emissions. To put that in context, the average UK household would produce 15 tonnes in a year.

Louise next explained how the BBC is working to reduce its carbon footprint, stressing the importance of asking questions about how a production could be sustainable as early as possible in the process.

She also stressed the importance of albert’s educational aspect, raising awareness about environmental issues. “One the challenges of getting people to pick albert and albert+ up initially was awareness,” she said. “They don’t feel like they know enough about the environment, sustainability or carbon footprinting and it frightens them because it all sounds a bit science-y and not really relevant to the their jobs.” Explaining to people why this is important, not only as producers but as human beings on this planet. Once people are motivated to make a change, then they can learn how they can specifically make in impact.

Normalising sustainable behaviour is another way the BBC take responsibility, by including subtle things in their programming, such as having recycling bins in a scene, not including plastic water bottles or having characters drive hybrid cars. Without changing the narrative, this gradually makes green behaviours more acceptable.

EastEnders was where albert first originated – in Albert Square, hence the name. They began calculating their carbon footprint in 2009. “It was very frightening to start with because EastEnders is a massive machine,” recalled Suzanne.

Since then they’ve come on a long way, achieving a three-star rating from albert+ - the best certification possible for sustainable production. Suzanne attributes this to good communication and the accumulative effect of small changes, such as putting a massive un-ignorable sandwich board in front of the recycling bins telling people to recycle their coffee cups. They’ve even devised a requirements list that goes to every production manager that they have to check off every time they contact a supplier.

Tracy was always the one nagging people about recycling since she started as a Line Producer at Palma Pictures, so gradually became a driving force for making the company sustainable. “Every company needs someone to be the one to motivate people,” she said. They’re making an effort to be a sustainable company for their conscience, but she noted that it’s also good for marketing to people with a conscience.

She noted the benefits of adhering to recognised standards and accreditation, such as the ISO 14001 and the EMAS, rather than simply saying you’re ‘being green.’ “The best thing about that is it provided a strict framework to work to,” she said. Every year they must produce a sustainability report and show that they’re improving in different areas.

To begin with, the challenge was measuring which parts of their business made the biggest environmental impact, but once that was established Palma Pictures took action on reducing this. Some of these were replacing the almost 50,000 plastic water bottles they use per year with reusable aluminium bottles for all their crew and clients, water fountains on all sets and paper compostable cups. They’re working towards a building a tool to calculate the emissions of a production at the budgeting stage – a huge undertaking, but one which could make a massive impact.

In a panel discussion to round off the event, Richard emphasised that sustainability shouldn’t be, and eventually won’t be, optional. Although Unilever is ahead of most, many clients are sustainability up their agenda. “I think there’ll be a point in time where the client won’t book someone to produce something unless they’ve got sustainable credentials,” he said.

AdGreen and the APA are working to devise such a system of credentials, but the debate of who foots the bill for such accreditation was lively.

For now, production companies who want to move towards sustainability have the resources to help them on their journey thanks to the checklists and copy and paste items available on the AdGreen website. It has resources for every role in the production process to help you make sustainable choices. And while no production company will ever be a giant like Unilever, everyone at this event kept saying the same thing – small actions add up to making a big difference.

“A don before Don Draper was even born”

May 17, 2016 / Features

By Jon Daniel

The story of art director Ray Barrett, who spent many years fighting for ethnic diversity and against a debilitating disease.

Ray Barrett in 1983. Photograph by Keith McMillan. Image from Campaign Photographic Archive at The History of Advertising Trust


Ray Barrett was one of the first advertising art directors of African Caribbean heritage, that I know of, to make a significant impact in UK advertising. His network of friends, creative partners, and colleagues, along with his incredible body of work, is a testimony to his illustrious career.

When I was studying at college as an aspiring designer and art director myself, he was one of the only people of colour who would regularly grace the pages of industry bibles such as Campaign or Direction magazine. And as many in the business will testify, he cut a very dapper and charismatic figure.

Ray was a don before Don Draper was even born. While the latter is a figure of fantasy, Ray was the real deal, who could walk the walk and talk the talk when it came to delivering creativity. Ever immaculately groomed and meticulously composed, his dress sense was a perfect reflection of his dedicated approach to the craft of art direction.

It was a style and attitude that was all his own, and it was to serve him well in the heady world of advertising, as he smoothly navigated through cultural and corporate politics like a knife through butter.

As his wife Ashante says: “Ray was that guy that everyone looked at when he entered a room. He commanded your attention. And more than that, he was social, exuberant, a real raconteur. He was ‘the guy’ you wanted on your table when you were in his company.”

And as his career and finances blossomed in the 80s with a series of effective and award-winning work, so did his appetite for success, which in turn was matched only by his taste for the finer things in life – such as his passion for fine wine, Art Deco and vintage cars.

In many ways, Ray could present himself as more “English” than the “English”. Gentlemanly, witty, charming, he would often disarm clients who were unsure of what shocked them more; the fact that when he turned up he was black; his straight-up, no-bullshit attitude; or that he was driving a vintage Porsche (or his beloved Facel Vega) and sporting a well-tailored suit to boot. It’s an image he worked hard to cultivate and which belied his humble Jamaican roots.

One of Ray Barrett's most iconic commercials, from 1985.


Born on 23 December 1957, to Jamaican parents who came to these shores in the 50s as part of the Windrush generation, he was raised in Handsworth, Birmingham. For those of you familiar with the cultural history of that area, it gives you an idea of just how far Ray travelled spiritually, emotionally and physically beyond the expectations of a black kid growing up in the area at that time.

The only boy in a family of four children, Ray and his three sisters grew up within a strong and proud Jamaican community, heavily influenced socially in the heavy dub musical strains of the reggae sound systems; linguistically in the patois dialect of their friends and family; and politically by the growing popularity of the Rastafarian movement.

Milton Buckeridge, who has been a friend of Ray’s since childhood says: “Ray was no sheep, he was a shepherd. He always stood out, right from the start at school. Even though we were all wearing the same school uniform, he just looked better, sharper and he was known for that.”

It was a sense of individuality that was forged by the tight childhood company he kept at Handsworth Wood secondary modern school with guys like Milton, Alphonso Grant and Colin Dennis, who were all part of a rather inspirational after-school art club run by teacher Mr Small.

By all accounts, it was an exceptional year as the class also boasted attendance from leading members of the legendary roots reggae band, Steel Pulse (who would later go on to become the first non-Jamaican act to win a Grammy for a reggae record).

And then Ray discovered art college. It was a revelation to him, and the beginning of a journey that was to open his eyes beyond the streets of Handsworth and lead him to the bright lights of London and beyond.

Whether working as an art director and creative director for several leading agencies, including FCB, DDB Court Burkitt, O&M and WCRS, or as a business partner in the agencies he co-founded, such as Barrett Cernis, here in the UK in the 1990s or more recently with The Conversation Farm in Canada, he always applied himself to the task at hand with a steely determination and an unwavering professionalism that was his trademark.

Ray was never one to call himself a role model, but he did take his position in the ad industry seriously and used his status to help open up the debate and progress its thinking around ethnic diversity and inclusion. With Jonathan Mildenhall (then managing director of TBWA) he co-chaired a two-year project by the IPA Ethnic Diversity Group, the result of which culminated in the publication of an online guide to ethnic diversity.

As he said at the time: “We estimate the combined disposable wealth of this group, which has a younger age profile and is more technology-savvy than the population as a whole, to be about £32 billion. But too many agencies only think about the ethnic minority market if they are given an ‘ethnic’ brief.”

Photography by Ray Barrett.


In latter years, around 2006 onwards, Ray’s career also led him into new territories, both geographically and creatively. For a while he decided to specialise in photography, producing work that was good enough for him to be represented by leading photographic agents Jo Talbot & Sue Young. A passion that would later lead to a long overdue trip in 2010 back to his ancestral heartland, Jamaica with his wife, Ashante, where he literally could not put the camera down the entire trip, as he reconnected deeply with culture of his youth.

Ray found excitement in the emerging markets of Latin America and India, working for a spell with an agency in Sri Lanka. But finally in 2008, primarily due to the relocation of his ex-wife and their two children, Luke and Halle, he finally settled in Toronto, Canada.

It was here that Ray, along with his business partner in The Conversation Farm, Michael Scher, was to make a lasting and indelible mark, via the power of social marketing and their progressive platform of “creating conversational capital”, on the cultural landscape.

The pair received a call from former football player Steve Gleason, who had been diagnosed with Amyotrophic Lateral Sclerosis (ALS). They were galvanised into action to create the #TeamGleason ALS awareness campaign. With only their creative smarts, a small budget and the fame of Steve’s name to play with, they set in motion a truly game-changing media movement that would capture the heart of millions of Americans and eventually people all over the world.

From a simple filmed commercial seeded with specifically targeted sports journalists, the campaign went viral, and led to the spot being played on the Jumbotron at the Superbowl.

Steve Gleason was mobbed by people wherever he went; millions of dollars were raised in the space of hours and in the wake of the campaign, a symposium of doctors, patients and researchers were brought together around the condition of ALS and charged with the direct goal of creating a business plan for the cure. It was from this symposium that the now infamous Ice Bucket challenge came into being.

The truly amazing side to this story is that only after all the hard work and campaigning was done did Ray finally come clean about the fact that he was also suffering from ALS, having been diagnosed seven months prior to the campaign starting.

That’s Ray. Like his name suggests, right to the very end his talent, professionalism, creative dedication and passion to be, and to do his best, shone through.

This story was originally published on Design Week as a tribute, soon after Ray’s death in August 2015.

Jon Daniel is a London-based independent creative director, designer and curator. For more information visit his website or his blog.

Signed: Loren Denis

May 16, 2016 / Signed/Unsigned

By The Beak Street Bugle

A French model whose interests spilled over to the other side of the camera.

French born Loren Denis cut her teeth in New York’s fashion industry, both as a successful model and keen photographer. She travelled the world and worked with some of the best fashion photographers in the business (Tom Munro, Peter Beard, Satoshi Saikusa and Guy Aroch).

She went on to discover a passion for film and not one to do things by halves, she studied all aspects of filmmaking including editing and scriptwriting. Her passion for film naturally evolved into becoming a director, initially shooting the up-and-coming models she was working with at the time.

Since then she’s progressed to branded content and has been building an impressive body of work with projects for Rayban, Eastpak, as well as Camille Tanoh and the Paris National Opera, conceptualized and written with her long time creative partner Anthony Vibert.

Loren is the latest director to join the Rattling Stick's UK roster and it’ll be interesting to see how she fares with their weight behind her.

Watch some of her work here:

How To Get CG Animals Right

May 16, 2016 / Features

By Alex Reeves

Tips and insights from the creators of the world’s best fake creatures.

You might have noticed that advertising likes animals. They’re cute, fun and universally liked by people of all creeds, cultures and classes. Animal ideas are easy to sell to clients and they seem to do the job.

But while they’re great on paper, working with animals is problematic. Some of them are dangerous, with big pointy teeth and a taste for human flesh. Most of them are quite uncooperative. Every producer has a repertoire of nightmare stories about the lengths they had to go to getting animals to behave in just the right ways.

And often creatives want them to act in ways that are literally impossible. Talking, laughing, moonwalking. Talk about unrealistic expectations.

On top of that, we live in enlightened times. We’re more aware than ever that film sets aren’t always the kindest places for some animals. “It’s become very unfashionable to have real animals in your ad,” says director Ben Liam Jones, who recently directed a commercial for Center Parcs featuring a family of CG bears. “Brands are shit scared about being associated with animal cruelty.” And they’re right to be. In this age of transparency corporations need to be more ethically conscious than ever.

Thankfully, there’s a solution to all of these problems in the magic of computer-generated imagery. And it’s more of an option than ever. Much can be learnt from the key points in the history of CG critters, so we tried to identify those defining examples on the timeline.

A Brief History

Faking creatures on film goes back to the days of model making and stop-frame animation, the most iconic examples being The Wizard of Oz, whose flying monkeys scare today’s iPad-native kids almost 80 years on and Jason and the Argonauts – probably the most iconic example of stop-motion monster wrangling. “There’s a rich texture to Jason and the Argonauts that you’d never get if you did it in CG now,” says Darren O’Kelly, Managing Director at The Mill. “That is part of what makes that a great film.”

It seems Jurassic Park is an emotional touchstone for everyone involved in CGI. As the first time CG creatures had been used extensively, it was astounding how believable those dinosaurs were in 1993, despite its huge feature film budget. It was a jump into the unknown – a truly groundbreaking moment. In fact, they almost did it all in stop-frame animation, but changed their minds. “There are early tests of almost identical scenes but using stop-frame animation,” enthuses Neil Davies, Executive Creative Director at The Mill. “But they took the risk. Someone said ‘let’s just see what we can do in CG’ and they did amazingly.”

Building on Jurassic Park’s experimentation, which amounted to just a few minutes of CG over the whole film, Framestore took on the task around five years later of creating three hours of wall-to-wall CG beasts for 1999’s Walking With Dinosaurs. “That was a breakthrough in terms of the practicality of doing something on that scale that before had been the reserve of feature films,” says William Bartlett, ECD at Framestore. “And I think that’s true of a lot of things. Feature films have the bigger budgets and can go to much further extremes.”

Around this time the big breakthroughs in fur hit the CG world. Pixar’s Monsters Inc. was something of a gamechanger in 2001. But most CG was still firmly stuck in the fantastical – we weren’t seeing bears or cats just yet, just cuddly characters in kids’ films.

It would be a few years still before advertising would meet CG creatures. Early work that stands out is Danny Kleinman’s oddball 2005 spot for Guinness, noitulovE, which integrated some Framestore-made CG animals with older model-making and stop-motion techniques to win the Film Grand Prix in Cannes. That was followed closely by Noam Murro’s ad for Sure, Go Wild, which integrated CG into live action in a way that was very ahead of its time.

Progress towards photo-real animals continued to be made, with the shock factor of polar bears falling from the sky in Plane Stupid’s 2009 climate activism film setting a new bar for convincing realism, while Passion Pictures unleashed the unforgettable meerkats on the world and in 2010 Tron: Legacy took impressive steps across the Uncanny Valley of CG humans. The Life of Pi gave us an animal that, for many people, passed as real, at least until you considered how uninsurable shooting a tiger on a small boat would have been.

But between 2013 and 2014 something clicked and everything fell into place to flood the advertising world with CG animals. First Direct’s Platypus and Little Frill commercials struck the delicate balance of creating talking animals that didn’t look cartoony. Helmed by Dom & Nic backed by MPC wizardry, they reached the level of physical realism that made a straight-talking photo-real platypus a viable brand mascot.

2014 also brought another piece of breakthrough creature work from Framestore and Danny Kleinman, the remarkable resurrection of Audrey Hepburn for Galaxy – a new high-water mark for believable fake humans, unnerving as it was for some.

The Mill were busy at this time too, working to deliver the realism ad agencies had been waiting for, using their incredible chimpanzee for PETA as a proof of concept and building on that to create Maya – the SSE orang-utan that set a new bar for believable CG creatures.

“The orang-utan really took things on to a new level,” remember Dom & Nic. Having recently worked on CG animals of their own, they appreciated the challenges the ape must have presented for director Frederic Planchon. “We may often think something is really well done but also know it’s CG. This was the first occasion we remember where people in the industry debated whether they had used a real orang-utan for some of the close ups.”

Finally, rounding off an incredible year for CG animals, Dougal Wilson and MPC served up the most emotionally potent example of all – Monty the Penguin. We’d finally reached the point where a sympathetic, even loveable, CG animal was possible.

The standards were set. Animation experts with a critical eye could pick holes, but by 2014 agencies knew that with the right idea, budget and talent, they could convince audiences to believe a CG animal was real. Amusingly, some people were hoodwinked by the Three pony.
“For a while we were not allowed to say anything about the ponies,” remembers Tim van Hussen, a 3D Animator at MPC. “They had a pony trainer talking about teaching them to moonwalk.”

By the time we reached SSE’s orang-utan, practically everyone not in filmmaking assumed she was real. “I’m convinced my mother would assume it’s real,” says William. “It wouldn’t cross her mind to think about it.”

What it Takes

That’s awesome, but advertisers shouldn’t get preoccupied with whether or not they can use CG animals; they should first stop to think if they should. Even the CG nerds stress that it should only be used as a last resort.

“As much as we would like to talk people into giving us work, we’re also mindful of what’s practical and cost effective,” says William. “We can’t get a lot of work in the long run if we constantly advise our clients to do things which don’t make sense. Most people give their honest opinion and that quite often is ‘don’t do that in post. Shoot it.’”

As Dom & Nic put it, real animals are still best “in all instances where it’s possible for a real animal to give the performance you require as a director without causing any harm or distress to that animal.” They might be difficult to work with, but living creatures provide delightful surprises on set that might be just the random touch script need to achieve brilliance. Great directing feeds off that kind of serendipity.

“You reach that point where why would we not just eventually shoot everything in CG,” suggests Diarmid Harrison-Murray, Creative Director of 3D at MPC. “But when you’ve built it all yourself, nothing is going to bring emotion that surprises you. If you film stuff there are emergent phenomena that you didn’t know were going to come out.”

Processing power, software and techniques obviously form the basis from which these jumps forward were made, but in the two decades between Jurassic Park and the orang-utan a gradual process of learning took place, where the world’s post-production leaders built up the knowledge and skills needed to unleash the power of today’s technology.

“I love when people start getting out the counters in case study videos,” says Tim, illustrating the point, “as if people care how many brushes Michelangelo used. That kind of technical detail that is totally irrelevant to the creative effort and the critical eye that people applied – the teamwork, the late hours, the drive.”

Making something look believable takes technique. When Frederic Planchon, director on SSE, asked Neil what he could do to make Maya look her best, his answer was to make it as difficult as possible for the CG team to get her into the scene. Nobody would shoot a real animal with a locked off camera, constantly in focus, not moving very much. “That ends up looking weird and sterile,” says Neil. “You’re losing all the cinematography and direction.” As a director, Ben appreciates this. “You need to show off on a couple of shots to show how good the CG is. A few amazing shots and you’ll buy the rest of it.”

None of this work was made in a vacuum. Every piece of CG animation draws on the lessons learned from previous jobs. Some artists, like Diarmid, have spent years specialising in birds. Apparently Jon Favreau referenced some of MPC’s commercial bird work when creating creatures for the new Jungle Book movie. The Mill’s orang-utan probably played its part there too. Considering budgetary and time constraints, it’s impressive the impact that commercial CG is having on Hollywood. But everything is interrelated.

It’s hard to overstate the role that attention to detail plays in all this. The range of topics CG artists have to learn about is extraordinary. Imagine having to replicate the physics of how a primate’s fur reacts to gravity, wind and light all at once.

And it’s not just perfectionism. That level of scrutiny is vital. “The human eye is incredibly sophisticated,” says Darren. “You know instinctively whether it’s right or wrong. I watched a CG squirrel that had been created recently and on the surface it looked like a squirrel. But when it moved it looked like a CG squirrel. Because all the attention to detail that goes into building it from the inside out was not done to the same degree.”


These creatures are built with full skeletal and muscular systems these days to make sure they move in a believable way. Artists on each of these flagship jobs spent weeks, even months learning things like how penguins’ bodies stretch when they jump, making them look like completely different animals.

“They’ve got a crazy long neck, which to a biologist is really interesting,” says Diarmid. “To us it makes things difficult because there are approximations we have to make to try and build their shape.”

Neil remembers how the guys modelling, rigging and animating for SSE were immersed in anatomy books, even pictures of dissected apes, so they could understand how the muscle structure works.

“What’s crazy about what we do here is we’ve now got 10 or more people upstairs that know more than anybody should know about orang-utans,” says Darren.

Once you’ve nailed the realism, a director can decide how to use artistic licence to make a compelling film. References are a rich source inspiration for directors and thanks to YouTube, trips to the zoo are no longer the only way to get these.

On Ben’s recent work for Center Parcs this was a tough balance. Bears are killers, but they had to look friendly. He had to watch about 20 bear documentaries to find the movements he needed to humanise them. “I realised they can convey a lot of emotion. They just do it in a very different way to an orang-utan. Their body posture, their noses are wet and they breathe heavily and there are natural things they do that I can nick to make a sad point or whatever. So it was real but we took some of the movements associated with bears and applied human emotions. We had to adjust sizes as well, because some of them, like the brown bear are ten feet tall. I think it’s a balance for us.”

Dougal Wilson watched endless archive BBC wildlife footage to make Monty, finding moments when real penguins looked most human. But it’s a risk to take that sort of anthropomorphising too far. “We had very strict creative guidelines not to stray into Happy Feet with it,” says Diarmid.

All of these aspects are important to create a great CG animal in an ad, but the single most important factor is time – something all too scarce in the ad industry.

Simon French, Head of Integrated Advertising at Framestore, puts it very clearly: “How good something looks is a factor of the time you spend on it. The thing that enables something to be great is painstaking time and commitment. Whereas sometimes you have to produce and ad in two months instead of ten months and it might have the same goal. Inevitably that ad done in two won’t look as good.”

London is the global centre for post-production. Artists at the VFX houses here come from all over the world and the skills they’ve built up over decades of experience is mind blowing. The resources are there to bring to life any creature you can dream up. It looks like we’re stuck with singing cats and dancing ponies for the foreseeable future.

A Pint With… Orlando Wood

May 13, 2016 / Features

By Alex Reeves

Ad industry wisdom, cultural observations and personal musings from the Biscuit Boss.

In honour of the new season of Game of Thrones, Orlando Wood and I met at the John Snow on Broadwick Street. We ordered a few pints and got talking about just about everything. But with the sun shining down and almost making Soho feel like spring, I nearly didn’t notice that he had covered a million and one topics. We drank about two Sam Smith’s Pure Brewed Lagers before moving onto the Taddy Lager, although, in retrospect, I suspect Orlando may have substituted two of the last beers for shandies. Very sneaky…

“… I used to spend my childhood summers in London. My mum was from Dagenham and my dad from Newbury and although I was born in London, I was primarily raised in Florida. During the summers, My friends would stay in Florida. There was a significant lack of beaches and friends here. London always felt like it was thrust on me. But I’ve since come to love it and wouldn’t want to live anywhere else…”

“… I’m a World War II history buff and I love British history. My favourite place to go is the Churchill Museum and Cabinet War Rooms. It really brings the reality of that history home. I wish I could have heard the phone conversations between FDR and Churchill – one confined to a wheelchair in the Oval Office, the other stuck in a tiny room underground while bombs fell. Just two old, confined men slowly righting the world…”

“… The Blitz mentality launched members’ clubs and, unfortunately, drove the rise of binge drinking. Obviously, you couldn’t have lights on outside, so people would get in multiple drinks before they were sent home. And members clubs were where you could drink after curfew because the members owned a bit of the building, it was considered the same as drinking at home…”

“… British pub culture is unique. I lived in Amsterdam for a while, where they like things to be gezellig – an atmosphere that allows good times to happen – so they serve beer in little 200ml fluitjes with a nice frothy head. I tend to drink shandies now to counteract the sheer volume of beer served here…”

“… I’ve recently become obsessed with Geordie Shore. I could just listen to that accent all day...”

“… The subtleties between American and British comedy are especially relevant in ads. American comedy can pitch a joke at the upper middle class and everybody either gets it or pretends to get it. In the UK people are more proud to be working class than middle class…”

“… Entertainment is hard. And advertising is hard. Branded entertainment is the hardest. So, I don’t think we should be that surprised that nobody’s cracked it yet. You have to move people emotionally while correctly positioning a product to try to change people’s habits…”

“… Without conflict you don’t have much of a story. The ad industry has a lot of craft to create a beautifully textural world, but sometimes we lack the ability to make that world seem alive…”

“… Advertising production companies need to prove they can do proper entertainment. We’ve been working on a remake of Watership Down with Noam Murro directing. It’s going to be on the BBC and it’ll be great. Hopefully that will be a good case study for Biscuit to demonstrate we can do pure entertainment…”

“… I can’t be cool in front of extremely talented people. For example Aaron Sorkin’s writing blows my mind. I met him at a screening and we had a good chat. But just as he was leaving I told him how big a fan I was. I was shaking his hand and just telling him how amazing he was. Eventually I stopped shaking his hand and was just holding it, still talking. I’m an idiot…”

“… I embarrassed myself when I met Terry Gilliam, too. I got talking with his wife, not knowing who her husband was until he walked in. At which point I just started listing his films at him. Yep, I’m still an idiot….”

“… Politicians fascinate me. The idea of dedicating your life to public service, to helping people, is amazing, whether you agree with how they go about it or not…”

“… I have an irrational annoyance whenever somebody sneezes more than twice. If someone sneezes once I say “bless you.” Twice and I’m like “is everything ok?” The third time I think “listen. If you need a moment you can take it!” I don’t know where it comes from, but it’s the most irrational thing about me. Well, that and my love of Geordie Shore…”

Orlando Wood is Executive Producer at Biscuit Filmworks UK.

High Five: May

May 9, 2016 / High Five

By Alex Reeves

It’s silly season for the month’s best advertising.

Some of the best ads in history are pure silliness. We all like a bit of levity to distract us from the drudgery of our daily lives, so it’s not surprising that silly sells. This month’s selection of the best advertising reminded us of how great immature nonsense can be. When done well, it can be a powerful asset to a brand.

Brand: Foster’s
Title: Dry Cleaner
Production Company: Independent
Director: Gary Freedman
Production Company Producer: Serena Paull (Revolver)
Director of Photography: Ryley Brown
Ad Agency: adam&eveDDB
Creative Director: Ben Priest
Creatives: Colin Booth, Ben Stilitz
Agency Producer: Louise Richardson
Editing Company: Playroom
Editor: Adam Spivey
Music Company: Madplanet
Sound Company: Wave Studios
Sound Designers: Aaron Reynolds, Dugal MacDiarmid
Post Production Company: The Mill

Foster’s – Dry Cleaner

Foster’s ads have always been a good laugh and this latest campaign delivers all the smiles we’d expect. Making the most of a seemingly mundane existence, the hero of this latest approach to the Aussie beer is instantly likeable. It seems lad humour is well and truly behind us now, to the point where mass-produced lager is advertised by a grown man playing dress-up. We’re not sure about the new strapline – it’s not exactly subtle, but we can sort of see how it ties in with this idea, so we’ll see where they take it.


Brand: The Green Party
Title: Grown Up Politics
Production Company: Smuggler
Director: Neil Harris
Production Company Producer: Adam Evans
Director of Photography: Sveere Sørdal
Ad Agency: Creature London
Creative Director: Clarence Bradley
Creatives: Lydia Raghavan, Tori Fannon
Agency Producers: Madeline Smith, Amy Connery, Nicola Ridley
Editing Company: Work
Editor: Saam Hodivala
Post Production Company: Unit Media

The Green Party – Grown Up Politics

It’s been a relief to see the party political broadcast rulebook torn to pieces in recent years. The Green Party and Creature have made a big impact on the format in particular. Still a fairly marginal party, the Greens have the opportunity to cast themselves as anti-establishment, attacking practically every other politician. And this idea gave them so much room to manoeuvre, adding in a cute factor to sweeten the deal. The casting is amazing. Our personal favourite is little Jez, who is remarkably regognisable despite the lack of beard growth.


Brand: Just Eat
Title: Manband
Production Company: Outsider
Director: Jim Gilchrist
Production Company Producer: Tex Travi
Director of Photography: Tim Maurice-Jones
Ad Agency: Red Brick Road
Creative Directors: Matt Davis, Richard Meson
Creatives: The Red Brick Road
Agency Producer: Charles Crisp
Editing Company: Cut+Run
Editor: Ben Campbell
Sound Company: Wave Studios
Sound Designers: Aaron Reynolds, Tom Heddy
Post Production Company: Big Buoy

Just Eat – Manband

Just Eat’s takeaway pop songs have all been brilliant. Snobs be damned, they’re unashamedly populist – the sort of thing that won’t win in Cannes, but will be sung by people around the country when they decide order a cheeky takeaway on a Saturday night. Each has been a triumph of music licencing, but this latest Backstreet Boys reworking is probably the best of the lot. Jim Gilchrist has nailed the aesthetic too – a perfectly tacky throwback to the golden age of the boyband.

Brand: Moneysupermarket
Title: Epic Dance Off
Production Company: Biscuit Filmworks
Director: Noam Murro
Production Company Producer: Carr Donald
Director of Photography: Eric Schmidt
Ad Agency: Mother London
Editing Company: Marshall Street Editors
Editors: Tim Thornton-Allan, Matthew Pochettino
Sound Company: 750mph
Sound Designer: Sam Robson
Post Production Company: MPC

Moneysupermarket – Epic Dance Off

OK. On the one hand putting the three fabulous men from their previous campaigns in a car park for a dance off was a bit of a lazy idea. But on the other hand, who cares? Those ads were a lot of fun and people loved them. Dave, in particular, became a celebrity in his own right thanks to his extraordinary booty and ability to rock the hottest of pants. It comes as no surprise that director Noam Murro has squeezed everything he can out of the script, of course. He’s a bubbling font of joyfulness.

Brand: Prostate Cancer UK
Title: Man to Man
Production Company: Outsider
Director: James Rouse
Production Company Producer: Benji Howell
Director of Photography: Richard Mott
Ad Agency: BBH London
Creative Directors: Raphael Basckin, Shelley Smoler
Creatives: Sara Sutherland, Ash Hamilton
Agency Producer: Alen Grebovic
Editing Company: Work Post
Editor: Bill Smedley
Sound Company: Factory
Sound Designers: Jon Clarke, Tom Joyce
Post Production Company: Finish

 Prostate Cancer – Man to Man

This one is absolutely inspired. Turning a familiar situation on its head, BBH have morphed a traditional source of comedy into something delightfully awkward and new. It’s always refreshing to see a charity taking a light tone with their ads and of course James Rouse makes sure it’s believable and charming to without fault. Here’s hoping it will inspire kids around the country to give their dads similar talks and hopefully save some lives.

ADCAN 2016: Meet the Charities

May 5, 2016 / Features

By Alex Reeves

A client’s-eye view of the award competition with a conscience.

We see a lot of charity campaigns on TV and probably even more at advertising award shows. With a strong ethical core, they’re often the most compelling pieces of storytelling the ad industry turns out. But there are 160,000 charities registered in England and Wales alone, so inevitably only the tip of that iceberg can access the power of TV advertising.

That’s one reason the ADCAN Awards exist. Supported by a collective of the ad industry’s top professionals, it’s a free-to-enter film competition offering up-and-coming talent good opportunities to do good work for good causes.

Filmmakers answer live charity briefs and are rewarded with industry contacts and workshops. Charities get free promotional films to help spread their messages and the partnering production companies get to see up-and-coming talent.

In previous years we’ve spoken to the founders and the winning filmmakers. With entries for ADCAN 2016 now open, we asked the charity partners for their perspective.


Nordoff Robbins

Nordoff Robbins is the UK’s leading music therapy charity. It is a world leader for the training of music therapists working in schools, care homes and hospitals nationwide. Music therapy is about using music in a supportive or restorative way, for people who are suffering from dementia, neurological disability, terminal illnesses and other mental or physical issues.

Brief: Bring to life the therapeutic power of music, so more people understand music therapy and want to donate to Nordoff Robbins. Think about ways to express this with visual concepts, editing and storytelling techniques.

What they want to say: Music helps people come alive.

The Beak Street Bugle: What is the value of advertising for Nordoff Robbins?
Mark Frodsham, Head of Marketing and Communications:
The charity sector is a crowded marketplace. Anything we can do to raise the profile of the work we do is of huge importance. So as a means of getting the word out about Nordoff Robbins, about music therapy and the impact it has on people’s lives, advertising is fantastic.

BSB: What are the biggest challenges you face when it comes to advertising?
We’re a very small charity with a small marketing resource. We’re very careful about how and where we spend our money. We work with agencies that support us on a pro bono basis. I’ve done that throughout my career at charities and agencies have been more than willing to help. Within the charity space part of the job is to reach out to people within the ad industry and just ask that question because there is a lot of goodwill.

BSB: What are the key benefits for your organisation for being part of ADCAN?
For me it’s a complete win-win. You get emerging creative talents who get a good project to work on a response to brief. And for charities it’s a means of producing really great content that can be used to market the stuff they do. Some stuff in charity advertising works to a very specific formula and I’d like to hope that what comes out of this is really exciting.

The GirlHood

In a creative industry that still employs more men than women and pays men more than their female counterparts, The GirlHood are an organisation on a mission to help young women profit personally, socially and financially from their creativity. They seek out creatively talented females, aged 11-24, from diverse backgrounds, and introduce them to learning programmes, content and resources to help them develop as resilient females with their own creative voice.

Brief: Make a rally cry to girls to be creative and stay creative. Encourage them to make brave creative choices in their education and in their careers. Communicate that creativity has the power to effect positive change in their own lives and in the lives of others. Because when girls make culture, they change culture.

What they want to say: Your creativity can fuel your future, with The GirlHood.

BSB: What is the value of advertising for The GirlHood?
Kati Russell, Co-Founder:
I worked in advertising and spent the last four and a half years at D&AD, so I’ve seen it from different perspectives. I left advertising in 2009 because I didn’t like it, but I’ve come around on that. I now believe that it really can be a force for good and can be used to activate positive change. We would love to be able to do it more.

BSB: What kind of advertising or marketing would you most like to do if you had the chance?
One line of advertising that we like is aimed at young people and particularly young women.

There is so little awareness of creativity as a career choice. Our mantra is we try and instil the value of creativity personally, socially and economically. And very often it’s seen as a hobby or a nice-to-do subject. But actually the creative industry contributes £77 billion to the UK economy. So there are jobs and it’s growing. And creativity is unlikely to be automated in terms, so there’s longevity there.

BSB: What are the biggest challenges you face when it comes to advertising and getting exposure?
It’s certainly different when you’re a tiny social enterprise there’s two of us. At the moment we’re only interacting on a one-to-one basis, but if we could interact on a one-to-many basis we could spread our message wider. I’m meeting all the time with the network that I’ve established but that’s just me. Advertising would give us a much wider opportunity and also that gravitas that you get. If you can put together an amazing piece of communication people will take you seriously.

BSB: What are the key benefits for your organisation for being part of ADCAN?
As an industry we’re really good at communicating but not doing. We see a lot of discussions but the actual behaviour change doesn’t happen often. So that’s what was exciting about partnering with ADCAN.

Hopefully we’ll get a film that will excite and motivate the young girls it’s targeted at. It’s not about us; it’s about them. So something that can inspire them and have enough power behind it to help them make life choices to be more creative.

BSB: What do you hope to learn from your ADCAN experience?
I’m super excited about the people behind it. I ran [D&AD] New Blood, and worked with similar cohorts for the last few years. They have the potential to have some of the most exciting ideas given the confidence because they’re unhindered by any of the realities you get once you get into the industry. You do forget as you get away from it. So that’s exciting.


Streetbank is an online platform, based on the sharing economy - a common sense street-level idea, that rather than buying everything we ever need, we buy less and borrow more. It is super easy to do; sign up, offer what you have to share or search for what you want to borrow. Streetbank leads to new friendships, connected neighbourhoods and united communities.

Brief: Your film can have a big impact. If you can inspire enough people to join Streetbank, you’ll create stronger communities and in turn make the world a friendlier place. We’re not looking for a literal story of someone lending their neighbour a lawn mower. We need more interesting or surprising ways of showing Streetbank’s greater benefit.

What they want to say: Share things, make friends and build community.

BSB: What have your past experiences with advertising been like?
Sam Stephens, Chief Executive:
In terms of getting word out, we’re limited by the fact that we don’t have a budget. We are reliant on donations from our members and from the odd newsletter where we promote another sharing economy or green business and get some money through that. There is no advertising budget. There’s barely a social media budget. So we have to be really creative about how we get word out and primarily it’s through word of mouth and mobilising our members to tell their neighbours about us.

The second way is media interest that this idea of sharing with our neighbours is both old fashioned but also of the moment, so there’s been a bit of media interest and some PR.

BSB: What kind of advertising or marketing would you most like to do if you had the chance?
The dream would be really geographically focused. When we get to a critical mass, which is two or three hundred members within a square mile, then StreetBank takes off and becomes really busy. That’s what really makes the difference, that density where people are posting things on a daily basis and others within a square mile are seeing it.

BSB: What are the key benefits for your organisation for being part of ADCAN?
Because of the way we don’t have the money to do advertising or to create visual content very easily and it’s so much in our sharing economy ethos – the idea that there’s latent talent that’s not being used and this is putting it to good use. And to be beneficiaries of that is super cool.

BSB: What do you hope to learn from your ADCAN experience?
The exciting thing is there is a brief and we’re going to see multiple approaches to it, whereas normally you only see one outcome. So to have multiple minds and a sort of crowdsourced approach is going to be fun.

I’m really grateful to the ADCAN team because I think what they’ve done is truly creative and a great way of nurturing talent but also finding a way of everyone benefiting. I’m enjoying the energy that’s being unlocked through their creativity.


CALM, or the Campaign Against Living Miserably, seeks to prevent male suicide, today’s leading cause of death amongst men aged under 45. Their goal is to let men know that masculinity doesn’t depend on being unwaveringly strong, unemotional and silent, an image that leads men with depression to avoid seeking help. Through broadening limited views of masculinity and offering support CALM encourages men to reach out and gain the help they need when life is difficult.

Brief: Make a film which disrupts these expectations of masculinity, makes men feel proud of who they really are and open to admitting when they are feeling down. Challenge the stereotypes that say a man can’t be a stay-at-home dad or talk to someone about their emotions and get help.

What they want to say: Men should embrace a broader view of masculinity and have the freedom to define themselves without censure.

BSB: What is the value of advertising for CALM?
Jane Powell, CEO:
I launched CALM ten years ago as a charity. I think its turnover that year was just over £12,000. Year on year we’ve blagged and used creative people to come up with our ads and some of have been magnificent to grow the campaign. This year our turnover was £1.2 million. So we’ve grown 100-fold in ten years and that has been on the basis of the creative industry’s efforts to showcase and raise the issue about male suicide. So for us advertising has been absolutely essential to our growth, promoting the change we want to promote and making sure people know that the helpline is out there.

BSB: What kind of advertising or marketing would you most like to do if you had the chance?
Until now the space that we’ve had has been on billboards and magazines and stuff. If we could get onto TV that would be fantastic. But I think the key thing is to get people to look at what we’re expecting from guys in a way that wakes people up and makes them think again. What is this ‘strong and silent’ stereotype? What if we can crush that so nobody thinks that’s what they need to be anymore? That’s a battle of ideas in people’s minds and those images and words and that’s what the advertising industry can deliver.

BSB: What are the biggest challenges you face when it comes to advertising and getting exposure?
What we try and do as a charity and when we go to brief an agency is to communicate that message but also say you need to bin all your stereotypes about what you’re expecting calm as a “mental health charity” because it’s unhelpful.

A lot of effort is given over to change the way they think they should approach the issue.

I remember once an agency came back with some advertising and effectively what it did was show a guy curled up in a foetal position in a big field and you think ‘that is probably how it feels, probably a lot darker but’, but if you were going to advertise a weight-loss product, would you put somebody on the front who is hugely obese? It’s not where they’re trying to get to.

BSB: What are the key benefits for your organisation for being part of ADCAN?
I think this offers an opportunity to take a more global view of the issue. We couldn’t afford to have a pot shot at the whole issue. We’re always focusing on a tight brief. On this occasion if we can allow people to look at what does it mean, what are the pressures? How do we show the world how difficult these expectations are? Stereotypes, injustices and inconsistencies are never visible until you’ve made a change. Until then you don’t see them and they’re not called into question.

Entries are now open for ADCAN 2016 until 28th July. Head to their website to find out how you can make a film for one of these charity briefs and possibly earn yourself a bright future career.