Talk to the heads of production and producers at agencies around the country and you can get a consensus on two things: the economy is still slumping, but great commercials are still getting produced. The consensus, however, ends there.
After sampling various awards shows, agency production heads and producers can’t seem to agree. To hear them talk, it is a topsy-turvy world, in which great ideas are wanted, but also feared; where budgets are tight, yet clients still want more.
Many production heads argue that the times are tough, but creativity is up. "There hasn’t been an ultra-renaissance in a year or two but there has been some good work," says Steve Neely, head of production/ North America and executive VP/ executive producer at FCB San Francisco.
Others insist that many are cautious, and as a consequence, creativity is down. "It’s super-challenging to get good things through because of the fears of the client," notes John Noble, senior VP/head of broadcast at The Martin Agency, Richmond, Va. "Also, our holding companies are watching because profits are down, so we have to deliver a certain margin. If we don’t, we’re subject to scrutiny. That’s an added pressure."
Everyone notes that the poor economy, the ramp up to war, and the general jitters about the state of the world have affected the way business is conducted. "Not a lot of people in advertising are taking that really bold step," says Ken Yagoda, managing partner/director of broadcast production at Young & Rubicam, New York. "But it’s not just in advertising. In airlines, banks, and technology, there is a lot of sameness. People are concerned about taking risks. Why? Pick your problem. There’s a lot of fear, and fear cuts down on discretionary spending. [Also,] there’s not a lot of freedom in people’s thinking—when you’re fearful, there are a whole lot of encumbrances on the way we act in society and the way we act in business."
While global concerns can affect ideas, so too, do tight budgets. "It’s a difficult climate out there," notes David Roalfe, co-head of broadcast production at Crispin Porter+Bogusky (CP+B), Miami. "People are not taking as many risks. Creativity is being challenged by the budgets, so you have to see things in a different way." Roalfe says his agency has—for creative as well as cost reasons—shot portions of a number of spots using digital video. CP+B has done well at the 2003 awards shows, garnering honors at the One Show, The ANDYs, and others, for its work on the Mini Cooper car.
Even so, some say a low or tight budget can help creativity. "Sometimes it’s more of a curse to have lots of money to throw at a non-idea," says Greg Popp, senior VP/group executive producer at DDB Chicago. "There is a trend to simple and low cost because of low budgets. That can be a good thing."
Cost-cutting measures have led to rushed schedules, which also affects budgets. Noble cites Honda Accord’s "Cog," directed by Antoine Bardou-Jacquet of Partizan Midi Minuit, Paris, for Wieden+Kennedy (W+K), London, as an exception to that rule. The spot opens on a single transmission ball bearing that rolls into a metal synchro hub, which brushes a gear wheel cog and drops off a table onto a camshaft and pulley wheel. The chain reaction continues, and involves some 85 car parts. Each automobile component is a catalyst for the action of the next, which culminates in the finished product‚ a new Honda Accord.
"That’s a really nice spot," Noble observes. "It was genius of Wieden to work on it for five months before shooting any film. When you have rushed schedules, we suffer. But it is a tough thing to tell a client—’we’ve got a great idea, now we have to wait five months to shoot it.’ These days, nothing is preplanned anymore. That’s not conducive to good productions like ‘Cog.’ "
key input
The producer’s role has become key. "Never before has the producer been more important," states Noble. "The producer has to know about sophisticated effects, know the right kind of editor, and choose the right director, all with a tight budget. And you often don’t have weeks to get it all together—you have days."
With less work and more behind-the-scenes talent available, the producer plays an essential role. "The producer can make a significant contribution at building confidence throughout the team by keeping communication open and by maintaining a single-minded vision," says Jennifer Golub, head of production at TBWA/Chiat/Day, San Francisco, whose FOX Sports campaign, directed by Rocky Morton of bicoastal/ international Morton Jankel Zander, has done well at this year’s awards shows. "That’s particularly important when fewer spots are produced. Each spot carries that much more importance. The producer has to know everything about the brands, about the strategy, and about the inclusive goals of the teams because truly great work is not only a singular execution. Every detail informs the outcome."
Part of the producer’s job is finding the right director, which is more difficult these days. "You can find fifty people who do a good job, and three or four who do a great job," relates Yagoda. "So you have to be better at searching.
"Everything should be aimed at answering ‘how does this move the idea forward?’ " he continues. "That guides you in your choice. You need a problem-solver who can stay focused on the core idea. But there are more people available, and more talent available. When budgets are under a great strain, you have to consider who gives you the best quality value for the client’s work. It’s harder to do because there are more people all over the world available. It’s a huge net."
"There are no longer thirty-one different flavors, there are thirty-one-hundred different directors," adds Roalfe. "And when you are rushed, you tend to go to the people you know. You don’t have time to check out new sources."
Standouts
The two rounds of "The Hire" series of Internet-based short films, done via Fallon, Minneapolis, for BMW of North America are cited by some as signs of great creativity and things to come. The first round of "The Hire," which scored several honors at the ’02 awards shows, was produced via bicoastal Anonymous, while the second round, which has garnered honors at the One Show, the Clios and the Association of Independent Commercial Producers (AICP) Show, was produced by bicoastal RSA USA.
Others see the BMW shorts as impressive examples of what time and money can do—which is also what makes them the exception to the rule, because of the lack of both time and money on most projects. "That campaign is in a class by itself," says Neely. "You have ultra-production, major dollars, and directors with star power. Wouldn’t we all like to do that? But it’s the exception to the norm. BMW was recognized last year and this year, too [for a second series of shorts]. Who else has been doing it in between? No one. That’s unfortunate."
Nonetheless, there are great spots out there, and the one most often cited is "Sheet Metal," created by Goodby, Silverstein & Partners, San Francisco, and directed by Noam Murro of Biscuit Filmworks, Los Angeles. The spot opens on a man backing out of his garage. He has no car, but steps backwards down the driveway, one foot behind another. What follows are various shots of people acting "driving" without cars—changing lanes, stopping for lights, and so on.
"That is my absolute favorite," says Golub. "It is a magical piece of work in one of the toughest categories. It is poetic. It is pitch perfect. It’s about humanity and safety and the preciousness of daily life. To have that level of sensitivity in the automotive category is hard to do."
" ‘Sheet Metal’ is a great idea for a car commercial because you never see the car," adds Yagoda. "You know the prowess of the car without seeing the car; it is experiential rather than formulaic, and it makes an emotional connection."
Another pair of commercials gets kudos from Popp: "Move," created by W+K, Portland, Ore., directed by Jake Scott of bicoastal RSA USA, and "Squares," out of Arnold Worldwide, Boston, directed by Malcolm Venville of Anonymous. Both spots have scored honors at the ’03 awards shows. "Move" features a teenage boy jogging down a suburban street. A sequence follows, featuring a parade of professional and amateur athletes pursuing their various sports, and ends on the same teenage boy jogging down the street. "Squares" shows a series of square images: a wall outlet, a stack of newspapers, a red house, a piece of toast, a white office building, an air vent, a painting, a green sponge, a piece of cheese wrapped in plastic, a bar code, a spurting water fountain, a fish tank and a cardboard box. When the images end, we see a shot of a curvy Beetle parked on a street.
"At the recent AICP Show, I was impressed by the low-budget speculative work," says Popp. "It reminded me that while good execution is important, there is no substitute for a stunning idea. Nike’s ‘Move’ is a solid idea elevated to superstar status. When you have a good idea, the execution is secondary. ‘Squares’ is a fantastic idea—presenting a square world and a not-square car. It’s such a great, great notion."
A few argue that creativity is no better or worse in ’03 than in any other year. "It’s really easy for people to say this year was not as good as past years," says Popp. "But memory is selective. You only remember the great spots from past years. Some rise like cream to the top, and are as good as possible. This year is no different."
Whatever the verdict, some argue that good work can only inspire more good work. "For me, as long as I see work that makes me say, ‘Damn, I wish I did that,’ I am inspired," notes Golub. "I know that there are individuals producing brilliant work that builds brands. I don’t really look at it as better in the past or not. I just want to produce at that level."
