1) I think the biggest creative challenge posed to me by a recent project is actually something I like to think of as an always/ongoing challenge – that is, to look at every project as an opportunity to not only understand parameters and get marching orders, but rather to truly collaborate with my team – especially the creatives and producers, but strategy, account and business affairs as well – and find ways to augment and elevate ideas for our clients. With that said, we have a current project in the works for our client, Mastercard, that will not only shine a light on some amazing tech they’ve created and humanitarian initiatives that they have in play, but I came up with an idea for a unique musical component that we hope will add to the overall idea and resonant on a much more broader, cultural level. Generating new ideas and then figuring out how to make them is what I find most gratifying. And with every project, through its process, there are always valuable lessons to learn. My guess for this one is thinking big is easier said than done. Ha. Can’t say much more yet, but keep your eyes and ears peeled.
2) When looking at the work we’ve done at McCann, I’m particularly proud of and excited by work that plays in new and evolving realms of what advertising is (and can be) and particularly, how it can effect cultural change. This is in projects like our State Street “Fearless Girl” statue, or the Microsoft “Make What’s Next” spot as well as Cigna’s “TV Doctors Of America which helps save lives by suggesting annual medical check-ups. Additionally, I’d have to say that I’m proud of the overall work I’ve gotten to produce here using music (as licensing, scoring, partnerships, etc.) for clients like Microsoft, Mastercard, Verizon, NatGeo, NY Lotto, USPS and L’Oreal – to name a few. McCann has a great heritage of music and branding, going back to Billy Davis during the era when we created Coke’s “I’d Like To Buy The World A Coke”. And with that heritage, there is great respect at McCann for the creative aspect of music, which in turn really utilizes my role, as well as the others in my department–Dan Gross, music producer, and Sam Belkin, music business affairs manager. I’ve been fortunate to work under our chief production officer, Nathy Aviram, who values and supports this role within his integrated production department and I’d like to think we’re a pretty well-oiled machine that helps elevate the creative – so I take great pride in this. Also, truth be told, none of this could be done without the incredible help of all of our vendors/partners – who are our true music collaborators. Massive thanks to all of them. They make us look super smart for our clients.
Beyond what we’re doing here at McCann, I’m seeing/hearing some great innovative work in our industry that really strikes a chord with me because of the pure amazing music craft and/or the message/meaning of the project. This is exemplified by such projects as the incredible music that Squeak E Clean created for the Kenzo commercial or the moving music that Beta Petrol created for Sandy Hook Promise. Also, even though it’s been a few years, I feel like it’s worth mentioning, as it’s one of my favorite/greatest-of-all-time projects and has effectively set the bar to measure against, in my opinion – this is Converse’s Rubber Tracks studios/project. A big idea from an incredible brand that gets it meeting the astounding talent of the Cornerstone crew to create something relevant, useful, cultural. Still absolute genius.
Also, have you see The Blaze’s “Territory” short film/music video? One of my favorite albums (technically an EP) of the year coupled with an amazing short film. It won the Grand Prix at Cannes this year, which completely surprised me, but so well deserved. Fully obsessed on this musical/art/film duo. Love to see multi-faceted creative ninjas doing their thing. Love to see work that is not one thing but many things connected. The best artists do this. The best brands do this. Excited to see what The Blaze will get into next.
3) My role (and McCann’s) has massively evolved over the years, especially when it comes to the tools of our trade. I/we need to constantly know about, think of and utilize these new and advancing tools: hi-tech, techniques, methods, medias, artists, partnerships, etc. We are still essentially telling stories for our clients to help them build their brands but the tool box is always getting bigger and more interesting, in my opinion. My favorite part about this evolution is the idea that if you can imagine it, you (likely) can do it. That feels more true now than even a few years ago. There’s so many resources at our disposal and so many people and companies to help and collaborate with us to get things done. I’m most particularly interested in the spaces where brands function with a combination of utility and entertainment. I see this in experiential projects, interactive activations, brand partnership events, branded content, VR/AR, etc. I also think that, at my best, I get to be a shepherd of musical creativity that lives at this intersection of where brands, bands/artists and fans (audience) meet. So in this regard, it’s nearly brands as patrons of the arts/artists – for lack of a better explanation – to create valuable things/experiences/etc. for an audience, that in turn feeds back into the brand – as brand loyalty, brand recognition and/or purchase/usage of the brand. This space is still relatively new in many regards. Though there have been many examples over the last decade, it’s still such an incredibly robust space that is emerging rapidly. This chance to play in/with culture and effect it for a brand, an artist or a fan, is super interesting for our advertising industry. In that space, we get to connect and play with the record industry, tech, fashion and art worlds. How awesome is that? Super awesome.
4) I think that shortened timelines, budgets (doing more with less) and the ability to be nimble and pro-active/reactive are some of the biggest developments I’ve seen. It’s making more amazing and resonant ideas for consumers/audiences with less time and money. But the tools are there, the teams are talented and the will to do it, super strong. I say let’s all keep getting leaner and meaner and smarter y’all. Fun times will be had.
5) VR/AR is one the most fascinating spaces for business and creative opportunities. I feel like it’s still taking a bit for creative teams to think in these terms and/or for clients to want/require it. But it’s coming and is going to be really interesting. If you just look at what we worked on for our client, Lockheed Martin and our “Field Trip To Mars” project for them that won big at Cannes, you’ll get a sense about to what I’m referring. For example, beyond the incredible work that Framestore created, I was able to get Q Dept. involved, and they helped us make sound software and hardware that had never been made before. We created sound for a shared VR experience. That had never been doing before and that’s what I’m getting a kick out of most – being an explorer of music and sound. Getting to be a music pioneer.
