In a world economy that is less than robust, and where each and every budget is scrutinized down to the last dollar, how can agencies maintain high quality production with fewer production dollars? The answer lies in finding more efficient means of production and taking chances with new, up-and-coming directors.
Don’t get me wrong; I’m not advocating a move away from established, successful, and highly experienced directors. On the contrary, if the budget permits, go for it. However, in situations where the ability to produce a spot hinges on meeting a skinny budget, simply assuming the production company can do it for less is generally misguided.
Sure, everyone’s hungry and anxious to produce great boards, and we’ve all said, "Just tell me the number and I’ll deliver," but invariably overages occur on the set. Productions are scaled back to such a degree that the slightest request can’t be absorbed. This tends to lead to difficult discussions regarding what was agreed to and who is liable for the overage. Inevitably, these distractions don’t help the production process and lead to tension between the agency, client and production company. Who needs that when you’re trying to create brilliant work!
A viable alternative is to consider up-and-coming directors working with production companies that truly know how to cost effectively deliver the board. Every director has needed their first big break at some point in their career. Given today’s environment, the opportunity is ripe to find these undiscovered gems.
With enough production dollars, directors can create a dynamic and intrusive treatment that will lead to breakthrough advertising. However, even the best directors can only do so much without proper resources.
So, in this environment why aren’t the up-and-comers working more?
It seems as though clients and agencies aren’t willing to take the "risk" associated with an "unproven" entity. I disagree with this philosophy, and believe it’s time to give these directors a real chance. Keep in mind these directors are not inexperienced. They’ve paid their dues in music videos, film, as DPs and on other projects. They have the experience to create great advertising. Ironically, as I understand it, the argument I’m making here is similar to the position agencies take when pitching new business prospects in categories where they don’t have specific experience.
Let’s apply the same principles as they relate to production. Don’t assume it can’t be done by a director with—how shall I say this—a more unique background. Consider what experiences they have had and apply them to the project. They might even bring in a wonderful new perspective we all haven’t seen before! And consider the incremental funds that would be available to the production itself, which should further plus the idea.
Great advertising has always been about taking risks. Calculated risks mind you, but risks just the same. These risks are necessary to propel brands beyond their current status. If we apply this same discipline to the directors I’m describing and the associated production companies, I believe agencies and clients will be happier with the outcome.
The alternative is work that will more than likely maintain the status quo. In this economy where, in almost every category, pure category growth is a thing of the past and taking customers from your competitors is the name of the game, some level of risk is absolutely necessary. Now is the time for agency producers to look at unique alternatives to help their agencies and ultimately their clients. As I see it, it’s time to take a risk.
