We were recently bidding a broadcast project that, as with all projects these days, turned out to be a very competitive situation. We had a number of well-known directors from some of the larger companies all vying for a multi-spot package. But something occurred during the bidding process that finally said “this has to stop”.
It was the day before we were to make our recommendation and present to the client. A person associated with one of the companies called and left a message not about why they were the right choice, but about how one of our other bidders was the wrong choice. The message went into some detail of the opponent’s body of work, and how it wasn’t as current as their director, etc. I think the phrase that was used was that the other director was “old news.” And, surprisingly, their director had all current work on their reel.
If I had asked the opinion of a rep of another company or director then that would have been okay–but this was a completely unsolicited remark. At Doner we’re in the exact same situation as all our suppliers when it comes to our business methodology–we pitch for business. Our pitches may take more time and the efforts of more people but in the end, the process is almost identical. Yet in all of my 20-plus years here at Doner I don’t know of a single instance when we tried to win an account by saying that one of the other agencies was for some reason unworthy. We don’t do that. And never will. It seems to us that the reason we should be chosen should solely be based on our merits and presentation. Nothing else.
Sadly, this was not an isolated incident. It has happened at Doner many times before. Reps and even production company owners offer their negative opinions on their counterparts on a regular basis. One time a rep even called a creative director’s secretary to try to foil another’s chances. I doubt that the directors they represent even know they do it. And most would probably be shocked. Maybe because these offenders think this will help their cause, but it’s really the other way around. They are doing themselves a disservice. Criticizing your opponent may work in political advertising but it doesn’t work in an ad agency.
Sometimes during our own pitches we don’t even know who else is in the running. Perhaps that should be the same protocol when we are bidding a job. If we don’t tell the reps who else we’re bidding, then this problem wouldn’t exist. But rather than be secretive, here’s an alternative. Let’s just put an end to it. Once and for all. Concentrate on why you or your director should become the chosen one. Stick to extolling your own virtues. Not the shortcomings of someone else.
We are all in the business of creating ads, and hopefully making consumers like our products because of the benefits of our own products, yet some of us seem to ignore that.
It reflects so poorly on our whole industry when people have to resort to deflating other bidders.
The truth is, it speaks little of their company and their directors’ capabilities, but it reveals a lot about their own integrity.
Oscar Nominees Delve Into The Art Of Editing At ACE Session
You couldn’t miss Sean Baker at this past Sunday’s Oscar ceremony where he won for Best Picture, Directing, Original Screenplay and Editing on the strength of Anora. However, earlier that weekend he was in transit from the Cesar Awards in Paris and thus couldn’t attend the American Cinema Editors (ACE) 25th annual panel of Academy Award-nominated film editors held at the Regal LA Live Auditorium on Saturday (3/1) in Los Angeles. While the eventual Oscar winner in the editing category was missed by those who turned out for the ACE “Invisible Art, Visible Artists” session, three of Baker’s fellow nominees were on hand--Dávid Jancsó, HSE for The Brutalist; Nick Emerson for Conclave; and Myron Kerstein, ACE for Wicked. Additionally, Juliette Welfling, who couldn’t appear in person due to the Cesar Awards, was present via an earlier recorded video interview to discuss her work on Emilia Pérez. The interview was conducted by ACE president and editor Sabrina Plisco, ACE who also moderated the live panel discussion. Kerstein said that he was the beneficiary of brilliant and generous collaborators, citing, among others, director Jon M. Chu, cinematographer Alice Brooks, and visual effects supervisor Pablo Helman. The editor added it always helps to have stellar acting performances, noting that hearing Cynthia Erivo, for example, sing live was a revelation. Kerstein recalled meeting Chu some eight years ago on a “blind Skype date” and it was an instant “bromance”--which began on Crazy Rich Asians, and then continued on such projects as the streaming series Home Before Dark and the feature In The Heights. Kerstein observed that Chu is expert in providing collaborators with... Read More