When Fallon McElligott, Minneapolis, officially welcomed David Lubars as its creative director last June, it was a coup for both parties. For Lubars, who last served as CEO/chief creative officer at L.A.-based BBDO West, he got the much-desired opportunity to work at an agency headquartersaone that is also considered a creative paradise.
And Fallon got a creative leader who has a healthy respect not only for creativity but also for servicing client needs. Indeed, Lubars, who used to be a principal
in his own agency (the now defunct Leonard Monahan Lubars), understands that the purpose of advertising is to sell product.
People [in advertising] have said that theyre artists and they dont want to sell out by doing certain things, says Lubars. My response to that always is, AYoure in the most commercial, capitalistic field you can be in. Youre here to sell things. Its not selling out to sell things well, with aesthetics and art and craft. I believe in creativity; I wouldnt be at Fallon if I didnt. We wouldnt do the kinds of things we do if we didnt believe it was the most powerful tool you can use. But its a tool to do what? Sell.
Lubars, who spoke on this topic at last years Minneapolis Creative Summit, believes that creatives unhappy with their roles need to take responsibility for leading the charge on the issues rather than complaining. Youve got to make sure you understand the product and what the client needs, says Lubars. Youll get more great creative, more risky creative [approved by the client] because they know that you understand the problem. Fallon does some very edgy work because it is the smart thing to do.
That philosophy is evidenced in Fallons new United Airlines ads, the next phase in the Rising campaign, which marks the first major work completely overseen by Lubars. Helmed by British director Andrew Douglas of bicoastal/international Satellite (tapped for his painterly touch, says Lubars), the four :30s and one :60 use the phrase Rising is… to convey the airlines advantages. The elegantly directed executions are highlighted by shots of ascending planes and unusual visual juxtapositions. Geese has a United plane leading a flock of geese in formation to communicate leadership, and Performers features a colorfully attired Cirque du Soleil-style troupe (in one shot, a juggler tosses a ring, which a plane off in the distance appears to fly through) to illustrate performance. The spots are notable for their dreamy color scheme, created largely by French colorist Jean Rene Nebot of After Movies, Paris, in his U.S. spot debut. [Nebot] gets into some meticulous work that gives a different texture and depth you havent seen in this market, says Lubars.
Previous ads in the Rising campaign cite consumers problems with airline travelae.g., check-in procedures and narrow seatsasomething United was first to acknowledge, contends Lubars. Now its time to take it to a higher plane, he says, and talk about rising as a kind of visionary corporate-branding idea. The ads also represent the return of Uniteds trademark Rhapsody in Blue musical theme.
The new United ads were created by art director Chris Robb, formerly Lubars number two creative at BBDO West, and by copywriter Kara Goodrich, who previously worked with Lubars at Leonard Monahan Lubars. Ive been lucky enough to maintain relationships with some really great people through the years, says Lubars, who adds that hiring other former creative colleagues may very well happen in the future.
Asked about the agencys upcoming commercial projects, Lubars opines that the first six months of the year will prove a fruitful period. Perhaps this will include some work for Starbucks, a $500-million account Lubars handled at BBDO West and which moved with him to Fallon in November. Other agency clients include Lee Jeans, BMW of North America, Holiday Inn, Timex, Nordstrom, Ralston Purina, Nikon, Time magazine, Fortune magazine, boat manufacturer Mercury Marine and new account John Nuveen & Co., a securities brokerage.
Trouble With Dick
Most industry observers are directing their attention to Fallon to see what will happen with its Miller Lite account, which the agency has been fighting to keep. The troubled brand has encountered recent sales problems, exacerbated by rival Anheuser-Buschs category-leading Bud Light. Fallons loopy Miller Lite Dick campaign has been criticized for being too out there, despite winning three Cannes Gold Lions last year (Arm Control, directed by Traktor via bicoastal/international Partizan Midi Minuit; Fly, directed by Frank Budgen through Paul Weiland Film Co., London; and Pro Wrestling, directed by Tarsem of bicoastal/international @radical.media). Miller wholesalers were reportedly among those most unhappy with the ads (e.g., the bizarre Evil Beaver, directed by Traktor, which features a man in a beaver costume who terrorizes a peasant community by gnawing away at their log cabins).
At press time, the Miller Lite creative presentations were slated for the week of Jan. 18; other contenders reportedly include Wieden & Kennedy, New York; Square One, Dallas; Young & Rubicam, New York, and Publicis & Hal Riney, San Francisco. When questioned about the shootout, Lubars commented, I cant speak about Miller.
He can, however, speak about his future plans for Fallon, which is widely considered one of the top agencies in the worldaLubars wants to make it the top. Its an intense goal to accomplish, Lubars acknowledges, but its a challenge that hes up to. [Advertising] is a hard job, he notes. Nobody ever promised it wouldnt be hard. Youre in a service business, lots of hours, no shortcuts allowed. [But] Ive always wanted to do this. I like this.M
