The Art of Matching Music to Christmas Campaigns

November 15, 2016 / Features

By Jess Nicks

How to find the perfect soundtrack to your brand’s expensive end-of-year blowout.

The highly anticipated John Lewis Christmas advert has sprung onto our screens bringing with it a sigh of relief (from me anyway!). 2016 has definitely not been the year to end with an overly cozy, sentimental ode to all that is right with the world. John Lewis have cleverly anticipated the mood of the nation and woven this into the style of their ad, and indeed, their choice of music. Using their tried-and-tested method of covering songs with relevant female vocals, the clever folks at adam&eveDDB have also added some comedy into the mix.

Director Dougal Wilson’s work for John Lewis and adam&eveDDB has set the benchmark by combining great storytelling with emotive music, and this year’s £7 million John Lewis campaign is no different.

The advert features an uplifting version of Randy Crawford’s 1980 hit One Day I’ll Fly Away.  Recorded by up-and-coming electronica trio Vaults, along with a 66-piece orchestra, it features the soaring vocals of singer Blythe Pepino. Vaults, if you haven’t already had the pleasure, are an exceptionally brilliant band who featured in the 50 Shades of Grey soundtrack. This cover sees Pepino’s voice really take on the wings of the lyrics. With minimal production and instrumentation the words really embed themselves in your brain.

Recent years have seen a widespread use of female vocalists performing cover versions, usually of songs by male-fronted rock bands. It’s a formula John Lewis has largely stuck with since 2009 when it used a cover of Guns N’ Roses Sweet Child of Mine, sung by Swedish singer songwriter Victoria Bergsman, aka Taken By Trees. Soft female vocals work well for Christmas ads as they lend an intimate feel to a story and help to build an emotional connection between the brand and consumer.

A key early consideration when exploring the use of music in a Christmas campaign is deciding whether to go ‘on trend’ or ‘on brand’.

Creatives need to choose whether to jump on the latest bandwagon or stick with what the brand is known for. For those deciding to follow a trend, it has to be done brilliantly, otherwise there is a danger the ad will appear derivative and blend into the background of a blizzard of seasonal ads.

A growing number of brands and agencies are steering clear of the well-worn trend for mellifluous female vocalists and minimalist cover versions of poplar classics. Lo-Fang’s rendition of You’re The One That I Want for Chanel was so unexpected and hugely effective. More recently, Yves Saint Laurent’s Mon Paris ad heard Lee-La Baum from Montreal rockers The Damn Truth belt out a take on U2’s Love Is Blindness.

Among the retailers to take a very different approach to John Lewis in recent years is House of Fraser, which has used punchy soundtracks coupled with energetic creatives. Its Your Christmas, Your Rules campaign in 2015 harnessed a bold remake of Lesley Gore’s 1963 feminist anthem You Don’t Own Me, by Aussie teen star Grace Sewell. The campaign more than did its job, boosting the retailer’s sales during the Christmas period by 5.3% year-on-year.

There has also been a real shift away from traditional Christmas songs, with brands and agencies being more creative with the music they sync. Play it safe by using anything too traditional and festive and you’re in danger of your ad being forgotten among a sea of more attention-grabbing soundtracks.

At Audio Network, and our boutique bespoke music agency Workshop, we ensure music is the driving force behind campaigns for clients including BBC, Grey London, HBO, Disney and Lucky Generals.

A significant campaign we worked on was Mulberry’s APA award-winning campaign #WinChristmas, created by adam&eveDDB. Directed by Andy McLeod through Rattling Stick, the lighthearted advert plays on the competitive spirit stirred up within families when exchanging presents. A girl receives everything from a painting to a unicorn but it’s not until she opens a Mulberry bag that she’s really bowled over.

It’s an irreverent ad so we steered clear of traditional music and instead our composer David Tobin produced a really low key piece of cool, smooth jazz that perfectly complements the tongue-in-cheek feel of the ad.

For anyone like me, whose job it is to search for or commission the perfect sync for a campaign, getting involved early is vital. Music licensing companies have the creative experience needed to help brands with strategy from the offset and steer them away from an obvious or underwhelming choice of music. Starting early enables us to thoroughly explore the best ways of putting music to content, whether that’s recording tracks to brief or exploring unique cover versions.

As well as getting involved at the start of the process, clear and frequent communication between creatives, producers and sync teams is vitally important. Trying to interpret a description of music accurately is not always easy as it’s particularly subjective.

If the creative team is set on using their favourite song rather than the piece of music that befits the campaign, the results can often disappoint. It is important to keep an open mind and remain open to suggestions.
Music changes perception of a brand and those that consider the soundtrack of an ad with as much care and attention as the imagery will see results. A musical memory is unshakable, thus making it the most powerful element of all.

 

Jess Nicks is a Music Consultant at WorkshopAudio Network's in-house creative music agency.

Being A Client

November 14, 2016 / Features

By Phil Toms

What it's like to be 'the client', working on the less glamorous side of our world of creative adoration.

My name’s Phil and I’m a client.

There I’ve admitted it.

Being ‘the client’ has been a big part of my career and I’ve been fortunate to work on some pretty recognisable pieces of communications work with some brilliant agency partners delivering strong business results.

The latter part is the crux of what I’m there to do and it’s worth coughing this up front. I’ve never really sought the limelight, never cared much for awards but focussed my attention on being at the heart of delivering what I’ve been tasked to do and wherever possible trying to over-deliver.

The early days of my career saw my first interaction with the glamourous bright lights of London agency land with BMP DDB. I was working for the slightly less than glamorous Meat & Livestock Commission – a business charged with delivering increased consumption of British meat post BSE. I was privileged to learn the ropes with an agency at the top of their game, brilliant at planning as well as creatively driven by the legendary John Webster. Being coached how to work early on as a partner to an agency rather than a master / servant relationship was a key insight to how I’ve always approached whoever the retained agency is wherever I have landed.

Those early days as a young client working with incredibly smart people gave me a great inside track on how to get the best out of myself, the brief, the agency and ultimately the work. I looked, I listened, I got my hands dirty, I loved the creativity, I loved the chance to be doing something I enjoyed but best of all I loved seeing the work I was involved in making a commercial difference.

And that is where I suspect some clients differ.

I’ve always trusted my agencies to be the experts in what they deliver, irrespective of discipline. In many ways, being a marketing client is like being a conductor of an orchestra. My job if you follow that logic is to make the most tuneful piece of music I possibly can, getting the timing spot on but most importantly generating an impactful musical piece that is noticed and loved by the many. Marketing is actually inherently simple; you need to cut through and you need to persuade.

Sounds simple? Maybe. The truth of the matter is that in the world of marketing the communications element may only take up a limited portion of my time. I’ve typically been charged with all manner of objectives on my to-do list and I share this insight as a matter of fact. From responsibility for the brand P&L to the development of the brand strategy, from working with the sales team to master the sales forecast to working with the factory to ensure on-time delivery, from the development of new products to discontinuing underperforming brands, to evaluating brand performance to the return on investment of the current communication. You catch my drift. It’s pretty busy. And varied.

But what does this all mean? For me it’s about getting the best out of everybody’s talents to deliver the best possible results results.

I appreciate there is no hard and fast checklist for success but there are definitely a few things in my head that I’m always on the lookout for when I’m working with agencies.

Chemistry is key.

Finding partners who understand your business, brand and challenges is critical. Extra marks for those that are interested in current business performance. I’ve seen great client/agency relationships flourish because both parties have been truly transparent with each other – identifying what’s working, what’s not and seeking to consciously improve particularly with the latter.

 

I’m a massive fan of a great agency planner.

They can sprinkle stardust in a way others can’t. I’ve been lucky to work with some amazing planners with brains the size of planets who have helped elevate the brief to a level where the creative teams sink their teeth into something game changing. Spending the time to craft the brief is key and I truly believe investing time and energy in the up-front strategic part of any brief response will ultimately pay dividends.

 

I promise to try and create an inspiring environment for briefing.

No PowerPoint in a faceless meeting room in suburbia if I can help it. I’ve briefed agencies in fields in Northamptonshire, factories in Hertfordshire and boozers in London. When briefing for the campaign that developed into Knitted by Nana’s, the brief took place in the Shreddies factory creating the opportunity for the creative team to observe every aspect of the process. Within 10 minutes of visiting, one of the team noted that ‘Shreddies look like they were being knitted’ and a creative platform that has grown and run successfully for multiple years was born.

 


I personally really appreciate direct access to the creative teams.

I know it can feel unnerving for agencies and suits in particular but honestly I think experienced clients really value the dialogue it creates. Instead of the ‘unveiling of the train station plaque’ creative sessions and the tumbleweed moments that I’ve seen happen, the most effective processes have allowed me and my teams to engage face to face. The value of tissue sessions where collective engagement allows for direct dialogue has kept work on track and most definitely helped manage internal expectations in my businesses.

 


Open-mindedness.

I’m on the lookout for work which makes me feel slightly uncomfortable (in a good way) as that likely indicates potential in market impact. I remember the first time I saw some new Bombardier work which literally made the hair on the back of my neck stand up. It will sometimes take a leap of faith and bravery but I’m happy to champion work if I can see the commercial impact it may deliver.

 


Research should be a friend and not an enemy.

In my world, being able to demonstrate evidence of potential impact and effectiveness can help justify the investment decisions being made. I like agencies that really engage with insight. Internally there will always be scrutiny on big ticket investment and research is a massively powerful aid to helping secure internal support. I’ve seen research optimise work on so many occasions and those agencies that attend research, listen and act upon it to my mind have always been significantly more successful.


Trust.

At the end of the day I trust in my agency partners to work with the right experts in all disciplines to deliver the best possible work. From the director to the producer to the editor and beyond. For a period of time we’re all on the same team working against my business objective and creating an environment for success is key.

Working with incredibly talented people is a real pleasure and a real highlight for me as a client. I know it isn’t always easy but when work is really effective it benefits us all and that has got to be something we should all sign up to as clients, agencies, production houses and beyond.

 

Phil Toms is Director of the consultancy 47 Marketing. He has worked in marketing for nearly 20 years, most recently as the Marketing Director for Charles Wells brewery.

What will come of Free the Bid? Ask Sweden

October 31, 2016 / Features

By Alex Reeves

The Swedish advertising industry introduced the same initiative two years ago. So has it worked?

Free the Bid is the latest move towards gender diversity for the advertising industry. The initiative, founded by B-Reel Films director Alma Har’el, encourages advertising agencies to include one female director in every three-way pitch on their scripts.

It’s a bold gauntlet to throw down – a chance for agencies to put their money where their mouth is on gender diversity and pledge to at least consider a woman’s vision to bring their ideas to life. Some have taken the pledge very publicly, others have quietly slipped their names into the hat, but the majority of agencies seem to have either ignored or not noticed the scheme so far.

It’s caused a lot of conversation, not least Alma’s discussion today with David Reviews Editor Jason Stone and the APA. But one point not everyone is aware of is that it’s already been tried elsewhere.

Sweden introduced the One of Three initiative in October 2014 to try to address the shocking gender imbalance in directors making commercials.

Devised jointly by the Swedish agency and producers associations, it set out the same guidelines for the pitching process – that at least one director on a three-way bid should be female.

To find out how the Swedish market has changed after two years with this guideline in place, we called Henrik Eriksson, a producer who was Chairman of Commercial Producers for the Swedish Film & TV Producers Association at the time of One of Three’s introduction.

The Beak Street Bugle: Has it worked? Do you feel there are more women directing stuff?
Henrik Eriksson:
Absolutely. The amount of female directors is better than what it used to be. There are more female directors active, there are more female directors available and there are more female directors pitching. So it has changed a lot. I think companies here feel that the rest of the world is contacting them now to use their directors. There is something moving.

The attitude has absolutely changed. The demand is out there. Representing female directors can lead to scripts on the table or more pitch possibilities. It doesn’t mean they always win, but at least they get a chance.

And I don’t think it’s just Sweden. The demand is increasing everywhere. We made a change with this concept and it’s continuing elsewhere. It’s great to see this happening in the US and the UK.

BSB: Did the Swedish agencies all commit to One of Three two years ago?
HE:
It’s a recommendation, not a hard rule. We launched it together with the Swedish advertising agency association [Komm], saying this is our recommendation. We were pointing the way to a better industry.

It hasn’t failed, despite what some said at the beginning. People did have their reservations. I know that in the beginning the female directors felt they didn’t want the spotlight on them because of their gender. They didn’t want to be seen from that perspective. They wanted to just be directors and judged as such.

It was a feeling that we had to challenge internally. We had to convince people to use this chance. From my perspective the only failure was that people did not understand how much work we did to change people’s minds to think differently. And it’s different today.

BSB: There was a concern when we first covered the initiative that female directors would get signed and would get to pitch on scripts, but would never win those jobs. Has that been the case at all?
HE:
If you feel you will lose, you will not win. If you think you will do the best film, you have a better chance to win. From the beginning we should always invest in talent and if you don’t believe you are investing in talent – no matter what gender – then you shouldn’t do it. Good production companies wouldn’t sign a director without talent, just because of her gender. But if you think you can get work done as well as make the industry more diverse, this is one way to do it

It actually put the spotlight on producers to show that we care and we want to be leading, creating great films. Companies also got attention for caring, thinking and being creative.

It’s natural but people got very defensive when we launched it. I was quite surprised: ‘It’s not going to work.’ ‘We can’t do it over here.’ ‘It’s not Sweden.’ It was a change and people are following it now. Unfortunately the move is still very slow. We could have done better, but we still made a change which we are proud of. We are happy that other countries are following.

The female talent has always been there. But we needed to create a demand for it. And it worked to push it. You need to work hard as a production company to get scripts for new talent and this was one way to get new talent working. That’s the producer’s job – developing new talent.

BSB: Will the guideline still be necessary in the future?
HE:
I think it has to be there to remind people until we all are satisfied. We have to remind ourselves when making films that we are showcasing what the world looks like. We need to do that in front of the camera and behind the camera. We have to have that proper mindset every day in all divisions. This is one subject and then there’s ethnicity, class, disability – all these other ways we need to improve.
 
When you talk or write about it, it feels so big. I don’t see it as big. We made an impact and it changed the industry slightly for the better and we still work with the subject. And of course UK as a leading creative center has a big responsibility to care in all levels, and this is a great opportunity for any company to do so. If you don’t care and don’t like women, don’t forget, it´s just a recommendation.

A Pint With… Andy Brown

October 27, 2016 / Features

By Alex Reeves

The man at the head of Jogger Studios UK is excited to be living in the future.

The last piece in this series saw me break out my Soho comfort zone, but this is my first international A Pint With…, accompanied by the beauty of Ireland’s Atlantic coast. A few hours after I landed for the Kinsale Sharks, The Spaniard was heaving with familiar faces from London’s advertising community. But I hadn’t actually met Andy before so we were going in blind.

Having awkwardly identified each other, we went to the bar and made an attempt at drinking Irish – a Guinness for him, a pint of the even more local Murphy’s for me. With so many friends out in the sunny beer garden it was hard to conduct a one-to-one chat, but we managed to cover some varied subjects be-fore the party engulfed us.

“…It’s natural to be suspicious of change. But there’s nothing we can do about it. Everything is constantly moving. It doesn’t stand still, although there are some con-stants. People still come out to Kinsale every year and have a few pints of Guinness and a chat in the sunshine.”

“…But it’s good to challenge yourself. A few months ago some friends who are keen open water swimmers suggested we all do a 10k swim, twice around Lake Butter-mere. That’s farther than I can run. I eventually agreed to do the 5k. I thought I was going to die about 750m in. But, eventually I got round. Not last. Didn’t drown.”

“…It’s amazing what you can learn on YouTube. I’ve been trying to learn more about photography. From people teaching you how to use a feature on a specific camera to lectures from whole photography courses. It’s all out there for free. So empower-ing.”

“…YouTubers are more talented than you might think. The people who are successful on YouTube do the things right that have always been true about telling stories. They’re engaging characters, they’ve shot things pretty well and spent time on mak-ing good pieces of work.”

“…It’s amazing what you can create on a phone. I was recently asked help someone out and shoot some footage of a yacht for their website. One of the things that makes video footage look home-grown is camera movement, so I got a handheld gimbal stabiliser. It’s so good. It made such a difference. We shot on my iPhone 6S from a little speedboat and circled the yacht and it turned out really well. There’s so much know-how that goes into a piece of kit like that.”

“…Smaller post houses are possible now. We wouldn’t have been able to do this ten years ago because it would have been too expensive. Now it’s within the realms of possibility. You can set up several suites and compete with the bigger companies.

“…We take images and try to improve them. It doesn’t really matter if it’s a 30-second commercial, a short film, a music video or website content. Budgets may vary but it’s all the same discipline, really.”

“…I hate how algorithms think they know me. I don’t want to be predictable. I like to think I have fully eclectic taste in music, spanning every genre, so it’s really annoying when Spotify gets it just right.”

“…It’s easier than ever to do trans-Atlantic post production. We’ve changed our iden-tity to become Jogger Studios, to link ourselves up with our partners across the globe. It’s surprisingly easy pinging builds and footage back and forth over the Atlantic. Ge-ography doesn’t slow things down anymore.”


Andy Brown is Partner at Jogger Studios (formerly Four Walls).

It’s Not Easy Being Green

October 26, 2016 / Features

By Alex Reeves

AdGreen founder Jo Coombes knows it’s hard. But green production is coming and it’s getting easier.

If you ask them, most people in advertising production would say they care about climate change and sustainability. In their personal lives most people probably recycle as much as they can, buy locally sourced organic produce and try not to take long showers. But in their professional lives so many still jet around to shoots on every continent and throw mountains of on-set waste into landfill.

AdGreen founder and freelance production manager Jo Coombes knows how daunting the prospect of greener production is because for the past two years she’s been pushing against the way things are done, challenging unsustainable practices. AdGreen exists so that others can join her in this crusade: educating the ad industry on climate change and sustainability, and supporting production companies in acting more sustainably by developing best practice.

If you’ve ever wondered what you can do to take on climate change, the AdGreen website is a great place to start. We sat down with her to find out why.

The Beak Street Bugle: Why does production need initiatives like AdGreen?
Jo Coombes: Producing shoots is particularly wasteful - anyone who’s been on set would agree. Catering waste, sets and props, throwaway costume, drives: almost every department is responsible for something!

And of course, that’s only the tip of the iceberg (no pun intended): BAFTA’s albert initiative has concluded that the three biggest culprits in terms of emissions are waste, energy use and transport. Waste is something we can see, and easily reduce, but energy use is harder to make a dent in without more education (and innovation) around alternative fuel sources like solar generators, and more energy efficient lighting. Luckily, in advertising I would say that transport use is probably not as intensive as in film and TV, but it’s still a big factor (until Uber Electric arrives of course!).

Talking to crew on set I hear some real horror stories. Someone told me about a shoot for [a clothing brand]. They used two studios – one for the shoot and one for styling and catering – and they carpeted the whole studio, just to make it nice. At the end they pulled up the carpet and threw it away. This is [a brand] who have an ethically sustainable policy. Yet under their nose, their money is being spent on this kind of wasteful behaviour. It only takes one person to notice how wasteful their shoot is and they’ve got some really bad PR on their hands. I can’t believe in this day and age they’re not being more accountable.

I see it myself too - on a recent shoot, unusually, the pack shot had been relatively forgotten about. After a last minute trip to B&Q, we set up a small infinity pool using a cement mixing tray and some pond liner. I’d worked with the art director from the start of the job to make sure the main prop make had a home to go to, along with 400-odd lemons, and now I couldn’t help thinking ‘what’s going to happen to that?’ This was something that was decided at four in the afternoon and we ended up shooting until midnight. What’re you going to do with all that stuff when it’s gone twelve, you’ve been up since 5am, and everything is covered in mud? Sometimes there’s only so much you can do, and that’s incredibly frustrating.

BSB: How did it all start?
JC: When I was growing up, my dad used to call me ‘Sting’s right-hand man’. I remember my school collecting recyclables, and I tore off a bit of tin foil so that I had something to donate – not quite the right idea of course! I always said I was going to be vegetarian except on Sundays and that I’d ride a bike everywhere. Now I’m vegetarian even on Sundays (except for fish… it’s a work in progress) and I ride my bike almost everywhere.

I love working in production but I’d become more disenchanted with it due to the waste. I was collecting water bottles and call sheets on set and taking them home to smuggle into my recycling. In February 2014 I read an article about global warming which was really terrifying. It took a good few months to shake it off and convert that fear into something positive.

At first I didn’t really have the confidence to speak up about the issue – I was a relatively new freelancer at the time, and had not long moved up to production managing. I didn’t want to piss off my new producers with my eco-rantings. It wasn’t until I went on holiday that September that I thought maybe I could do something. I sent some emails from my sun lounger and arranged to meet the guys at BAFTA to find out more about their albert initiative, which works with the TV and film industry to calculate and reduce emissions through practical tips and tools. They really inspired me to try and apply their experience and knowledge to our industry. I got some people together – a few production folks and some suppliers – and we sat around the table at the APA and eventually came up with a sort of environmental risk assessment.

BSB: How did you refine that checklist once you had it?
JC: The first draft was far too involved and detailed – it would’ve taken about a week just to complete! But it was a starting point. We’d seen that some of the productions using albert’s guidance were issuing ‘green memos’ to crew at the start of their jobs, to communicate what was being done throughout the process, and what was expected of them. We realised that we could adapt these and create some copy-and-paste text to help production teams relay the information quickly to their crew and suppliers. We linked these up to the checklist, to make those points easier to accomplish. As we moved forward, I tested various ideas on my shoots, and other production managers did too, feeding back on what worked and what needed a bit more refining. Each time something worked well, we added it to the checklist along with any relevant resources. We recently found out you can recycle Nespresso pods for example, so included that on the list, along with details of where to get the free recycling bags, and a sign to print off and use at the tea table.

It’s trial and error. And it’s about breaking down the barriers that make doing these things difficult – mostly by making them less time consuming to accomplish. Telling people why something is being done works surprisingly well when you come up against resistance. Few people argue with saving the planet! Constantly reminding also helps. I feel confident in what I’ve got on the checklist because I know that I’ve done it and it’s worked. Not everything can be done on every job, but it’s a good place to start.

BSB: What have been some of the challenges?
JC: The main resistance is that there’s not enough time. If you’ve only got four days of a production manager’s time for a two-day shoot, you can only achieve so much. It also takes time to digest what’s on the website, to have crew read things, to ask extra questions, to follow up for answers, to order the extra bits and pieces to help you do things better, to think of how many 19-litre water containers you need instead of bottled water... For me, these things are now habit, but it’s taken a few months.

You also have to make people feel comfortable discussing these issues. There might be runners or production assistants who want to be greener but feel that they can’t approach their superiors because they don’t want to rock the boat or stand out. Whenever I start a new job, once I’ve read the treatment and gone through the budget, it’s the next thing I’ll discuss with the producer. Putting it out there at the start of a job also means crew and suppliers understand that sustainability is important to the production company, and that there is space for them to contribute.

BSB: What are people’s misconceptions about green production?
JC: The main one is that it costs more money to be green. There are so many studies that show it really doesn’t. When I get asked this, I generally give a threefold answer: 

There are things we’re not doing and they’re going to cost more to do properly like recycling for example.  There are also things that will save you money – we recently used water coolers instead of bottled water – they definitely came in cheaper and saved a fair amount of waste in the process. However, it’s a shame that rubbish collections aren’t priced in a way that saves money – being charged per collection rather than per bag doesn’t incentivise people to consider how to produce less waste. Perhaps if it was then we’d insist on water coolers all the time – and crew bringing their own sports bottles to refill.

Lastly, you’ve got bigger costs that should be discussed with the agency. Ethical disposal of sets will take longer than just skipping the whole thing, and therefore will cost money in studio and crew time. This is why we need agencies on board, and we need to embed sustainability discussions in the pitching process. If everyone knows there’s a big build, make sure your bid includes costs to dispose of it sustainably, and reference these costs in your bid letter. Not only are you highlighting why your bid might be higher than someone else’s in this area, you’re showing that you are considering environmental issues, which is likely to be something their client cares about.

BSB: How can you involve clients and agencies?
JC: I think the key is to help agencies understand what is possible at this point in time, what needs more development, and what things might have cost implications. The fact that more isn’t required of us is also indicative of a disconnect between client and agency in this area too. If a client asks for a 24-hour security to guard a product we’ll organise it (and likely extra-charge it if it’s a late request). Theoretically they have the power to ask for whatever they want. If a client wants recycling bins, we can organise that, but I wonder if the conversation is even being had? Perhaps there are also assumptions that these basics are already in place, as it’s 2016.

BSB: How do you feel about what you’ve achieved so far?
JC: I think about that article that I read now and it still terrifies me but not in quite the same way. Since I read it, there have been some really innovative developments – solar planes, kinetic bike paths, ridding oceans of plastic with a giant vacuum cleaner; and public figures from The Pope to Leonardo DiCaprio are raising awareness of climate change in a big way. These things give me hope that we’re moving in the right direction in general, and people are becoming more and more engaged with the issue.

I know that I’m doing what I can and taking control of a part of the problem (albeit a very small part). It won’t change the world. Bigger changes need to happen a national and international level, but for now it’s a start and as those bigger changes come in, hopefully we’ll be in a better place to handle them.

From the Jaws of the Sharks

October 3, 2016 / Features

By Alex Reeves

The most memorable truth-nuggets from Kinsale.

I’d never taken the Kinsale Sharks seriously enough to bother going. It’s always seemed a frivolity – an excuse for London’s production companies and a smattering of agency producers to have a catch-up over Guinness and under the pretence of work. As Susie Innes wrote a few years back, “it has little kudos,” but it is “good craic”. 

I decided to see for myself this year. I couldn’t keep ignoring those emails from reps every year asking if they’d see me out there. And the prospect of more than a few pints of Guinness in a quaint Irish harbour town is hard to resist.

Of course it was good craic. Loads of familiar faces and a great environment to meet new people. I soon discovered that I should in fact be drinking the impossibly smooth Murphy’s Stout from Cork, not its more famous Dublin rival, and it flowed freely in each charming little pub (and there are more than enough of those).

But as a delegate, there was so much more to it than pints of the black stuff and diddly diddly bands. I found to my surprise that I was also able to stimulate my brain cells in the day before I killed them off in the evening.

In its 54th year Kinsale have shaken things up a bit. With Creative Social curating the speaker schedule, the content was consistently inspiring. While bigger festivals may have more celebrity speakers and ‘creative luminaries’, they are invariably hit-and-miss and often full of unoriginal platitudes. Every speaker at Kinsale held my interest and made me think of advertising in new ways.

Here are some of the best lessons harvested from the speakers’ presentations.

 

“The true power of creativity comes from a real belief in the transformative power of creativity, from a real belief in the best that humanity has to offer and for choosing interesting rather than doing the same old thing over and over again.”
- Laura Jordan Bambach, Creative Partner, Mr President

“The people that are often responsible for the great work aren’t represented [in Cannes]. The technologists, producers, the young creatives they don’t get a look in. So Cannt is trying to remedy that.”
- Laura Jordan Bambach

“We all know diversity is a massive issue. Why on earth is it not happening on a grand scale across these massive agencies?”
- Laura Jordan Bambach

“It’s never OK to make someone feel bad about themselves just to sell something.”
- Laura Jordan Bambach

 

“We’ve fallen into a terrible trap. Lack of time outside of work is killing creativity.”
- Emma Perkins, Executive Creative Director, MullenLowe Open

“A good friend of mine said to me ‘you should only ever give 80%’. It was the opposite of what I thought being ambitious meant. The very ambitious tend to give 150% so if people like me give 80 no one will notice. I’m getting away with it beautifully.”
- Emma Perkins

 

“The parameters we set ourselves actually free us to do better work [...] So work in a box rather than outside of the box […] The important thing is you’ve got to find your own limits that energize you. […] You’ve got to get into something tighter because that’s when the work gets better.”
- Tom Kelly, Freelance Creative Director

 

“We do everything within our grasp to say thank you to our clients’ customers because great advertising is a thank you to customers from brands and great design is a thank you to customers who buy our clients’ products.”
- Maggie Mouat, Founder & CEO, Luvly New Zealand                      

 

“When you bring your version of the truth, your own experience and your own belief and the conviction of passion that come with it, and you apply it to human truths, that’s when you create magic.”
- Kenn MacCrae, Executive Creative Director

 

“My existence is simple. I serve to entertain and amuse.”
- Mr Bingo, Illustrator

“Work with people that can do things that you can’t do. It’s amazing to work with people that can write a beat, record a rap song, make a book or make a rap video.”
- Mr Bingo

“If you think you can do better than what’s out there, it’s worth having a go […] Don’t talk about it. Just do it.”
- Mr Bingo

 

“I professionally refer to [straight8] as a monster side-line hobby from Hell. It’s one of those things that seemed like a good idea at the time.”
- Ed Sayers, straight8 Founder

 

“Teaching takes you out of your commercial environment where you’re always making things for someone else. It’s really nice.”
- Fuscia MacAree, Illustrator

 

“I think we can all agree that communication has gotten a little lazy. Let’s provoke and scare ourselves, then persuade our clients and make work of consequence.”
- Susan Hoffman, Global Executive Creative Director, Wieden+Kennedy Portland

 

“It’s really important that we try to absorb things from different areas to make us the best possible in our field.”
- Louise Sloper, Head of Art, BMB

“Having space to think means that you end up coming up with much more creative ideas, rather than rushing and contantly working.”
- Louise Sloper

 

“I think fame has become a false god. People want to be famous just for the sake of it. To have a vocation is so important. While people are doing reality shows there are people who are following vocations – the nurses and doctors and sewage workers.”
- James Bradley, Founding Partner, 750mph

“FAIL is an acronym for First Attempt In Learning.”
- James Bradley

 

“I speak seven languages fluently and on top of that I can understand maybe ten or 15. […] The French version of World War II will be different from the Italian version, which will be different from the Russian version, etc. Somewhere in the middle you’re going to find an area of truth. That objectivity inspires me to know that I’m going in the right direction.”
- Jason Romyeko, Worldwide Creative Director & Commercial Artist

“I’ve lost all respect for job titles. […] We are all commercial artists making art for commercial purposes. […] Like artists, commercial artists have to put eyes on screens and bums on seats, but like artists they are responsible for setting trends or opening doors that have been closed for a long time.”
- Jason Romyeko

“We shouldn’t always be guided by research. We need to respect that consumers have taste, but they are waiting for cues from us, so we must with confidence remember that we are makers.”
- Jason Romyeko

Under the Influence: Nicolas Davenel

September 29, 2016 / Features

By Alex Reeves

The foundations this Iconoclast director builds his films on.

Ever since we decided which band names to scrawl on our school rucksacks, the stuff we’re into has come to define us. The art, music, film and hobbies we surround ourselves shape us and the things we create.

So having seen the dynamic, stylish music videos and branded content on Iconoclast director Nicolas Davenel’s reel, we were fascinated to hear about the components that feed his filmmaking.

Early 2000s Hip Hop Videos

I didn’t grow up wanting to be a director.

I didn’t even really watch a lot of movies until the age of about 20 but I was influenced a lot by music videos. I grew up in Brittany in the countryside. At the time there was no YouTube so I remember downloading music videos with my friends, which was a tough job on 56k internet. We burned them on DVDs and built up a collection.

When I was in high school I was really into American hip-hop. All those early 2000s music videos, not even underground stuff – Beastie Boys, Busta Rhymes, N.E.R.D., DMX. The video for Gimme Some More by Busta Rhymes – that crazy cartoon environment paired with all the rap clichés – I think that is a part of why I wanted to make music videos. I was excited by that.

Later I was fascinated by music videos based on a visual concept, instead of a story. Like all the Michel Gondry music videos, the one he did for The White Stripes, or the one he did for The Chemical Brothers that was a view from a train and every piece of the landscape represents a layer of the music.

My first music video was purely visual too, just a fast dollyshot through the streets of Paris. We had no money so I just used my camera and took pictures, building the fake dolly shot through Paris streets in a 25fps stop motion, that made it sort of look like a video and not stop motion.

Motor-head Subcultures

I’ve done several films about motorbikes and the communities around them. I have a passion for motor-fashions. I’ve done a couple of pieces about motorcycle gangs. I followed moped gangs in the US, spent some time with them, did a music video around a group of motorcycle stunters. I like the community around the vehicles – the passion around a specific object that can become a movement.

The thing is these people are mostly from the countryside where you have a really normal life and having a passion like this is a way to touch the extraordinary and build friendships. There’s something that touches me. It’s about being a hero in a regular environment.

There’s a rich visual environment about Motor that is really attractive and what really got me going was the idea that this vehicle becomes a huge part of their life. They decorate and paint it, it essentially becomes part of their family!

I liked also weird Motor cultures, like tractor pulling. It started with farmers comparing the power of their horses, and now people put three helicopter engines in a tractor and compete by pulling heavy loads on a 100m track. It’s really a motorsport. I like it because it might look ridiculous from the outside, but it’s deeply interesting when you look closer at it.

Bruno Dumont

He directed La Vie De Jesus, and a short series called P’tit Quinquin which is a hilarious burlesque thriller, with a lot of dark humor. P’tit Quinquin is also all about a sense of growing up in a rural, racist environment. In the first episode they find human body parts stuffed inside the asshole of a cow.

All of his films take place in the north of France, like La Vie De Jesus. The story was inspired by something he saw in the newspaper, a racist crime in a small village. Some guys had beaten up an Arab guy. He was wondering how you could end up murdering someone for his race in the countryside where people are almost all white. It’s just following a group of teenagers who hang out on mopeds because they have nothing else to do. There’s an Arab kid in the village. It’s about how this hate starts growing up.

He works with real people, casting on location so all the kids you see are actually from those towns and I love this authentic style. His work is really cynical about humanity. It’s also really touching though and really ambiguous. You never know if he’s a misanthropist or not. He has a raw style that’s really beautiful.

Andreas Nilsson

Having made music videos I’m a big fan of his work. He has an amazing talent to combine his great sense of humour with something freaky. I was really inspired by some of his work when I started, like the videos he did for Fever Ray.

I like how he’s able to do films with an intense environment, almost paranormal or fantastical and also make them funny. I love the music video for Peter, Bjorn and John for It Don’t Move Me about a father teaching a kid to dance like Michael Jackson. The ideas for his music videos are always really simple, but somehow he could fill a whole feature film about that kid and his dad. Being able to put that into three minutes is great.

He also does really funny ones like 2Chainz, Birthday Song. It links to those early 2000s rap videos, where everything is really clichéd. He’s taking that and he’s able to put a lot of humour into it. It’s a sequence shot. It’s riffing on the cliché of a hip-hop video from the beginning and you feel he and Kanye West are making fun of that whole thing.

Mud

I really like Jeff Nichols. Take Shelter and Shotgun stories are great movies.

Mud is probably not the film people would talk about as their best movie ever, but seeing that was the first time I realised the sort of feature film I’d like to make, it made a great impression on me. You can feel that every piece of the puzzle is there in the right place, every character, every piece of the story fits well.

It’s about a kid who is helping a fugitive that’s hiding on an Island in the Mississippi.

The Mississippi background is amazing and it’s about a community that is disappearing, people living in houses on the river.

That theme connects also to Beasts of the Southern Wild, which is an amazing first feature from Benh Zeitlin and also a story of a disappearing community in the bayou of Louisiana.

I guess those films have all the themes that I like. a social background treated with a bit of magic, often seen through the eyes of children who are trying to understand the adult world while at the same time becoming one.

A World of More Craft

September 28, 2016 / Features

By Alex Reeves

Editor Matt Felstead on why we should celebrate the artisans of our industry.

The British Arrows CRAFT awards nailed their colours to their mast when they started 20 years ago. They’re here to celebrate the craftsmen – the people whose finesse in their specific field manages to elevate a piece of work. And while there are plenty of award shows, the CRAFT awards’ diverse jury of experts in their field gives this one heaps of kudos.

With the last entry date looming, we spoke to one of last years’ winners and a true craftsman – editor Matt Felstead of Big Chop, who won Gold for his work on Sony, TKO.

The Beak Street Bugle: How did you become an editor?
Matt Felstead:
I started as a runner at an editing company and slowly worked my way up from there. I was lucky enough to have some brilliant editors to watch and learn from.

BSB: What do you most enjoy about your job?
MF:
Pretty much everything to be honest. I enjoy building the film from scratch, the nervousness and excitement of having lots of rushes that mean nothing individually, working through them and combining them to give them meaning and to tell a story that entertains. I get to do this in the company of brilliant, entertaining, interesting, creative people in a brilliant company with brilliant people in it. Best job in the world.

BSB: What were your first thoughts on how you would edit the TKO film?
MF:
I wanted it to have a linear story that took the viewer through the journey of a boxer preparing for and then having a fight but also had the added layers of being a music edit with action that matched the beats of the music rather than just cut to the beat of the music. I was lucky enough to have brilliant rushes from Greg Hackett (the Director) that enabled me to do that.

BSB: How did the footage shape the way you cut it?
MF:
Actually it was the music that shaped the way I cut the footage. As I said before the rushes were brilliant and I think it would always have been a beautiful looking film but when we found the music track it dictated what parts of the footage would be used and how.

The music track is just as important in a film as the film itself.

BSB: What does it mean to win a British Arrows Craft Award?
MF:
I think, for me, certainly nationally, the British Arrows is the one. It feels like it's more interested in recognising the craft and the individuals involved in making it than creating its own reputation. It’s certainly the one that seems to hold weight with people within the industry and put you up there in terms of reputation when you win it.

It was also confirmation that the decisions and ideas I have day to day are the right ones.

BSB: Why is it so important to have dedicated awards for craft?
MF:
I think it’s very important to have dedicated craft awards. A lot of individual talent goes into making the whole of a film and people put their life and soul into the work. You can have an exceptional soundtrack, edit, sound design, cinematography etc. in an unremarkable film and it’s important that the individual work is recognised within that and not lost in the whole.

Entries for the British Arrows CRAFT 2016 awards close on Friday 30th September at 18:00. Enter here