1) The speed, quality and cost of CGI is unbelievable compared to just a few years ago. And there are tons of designers and animators around the world taking advantage of it. At the same time, our screens have drastically shrunk, while the resolution has become amazing. That means framing things in lens with the realization your film may never be viewed larger than 4 or 5 inches. Finally, the vast amount of content is crazy. Not only are 300 hours content being uploaded to YouTube every minute, but all the old, well-crafted and classic content is becoming available as well. Once, we just consumed whatever was in front of us. But now, we have to curate what we watch. And what we choose to watch defines us more than ever. Personally, I’m inspired by great storytellers like Quentin Tarantino, Spike Jonze or Vince Gilligan.
2) There’s been a dramatic change in the need and ability to turn film around super fast and to tell stories in 15 seconds or less. It actually has its upsides. There’s less time to obsess over approvals and more chances to do something great. Of course, that means a higher failure rate, but it’s worth it. Also, content can be immediately reactive to social events now. And any good content has the chance of catching fire. Luckily, in the end, the quality of content is still king. And a well-timed, sharp joke or observation still kills. That said, all this speed affects our craft. For instance, typography as a whole has become an afterthought. More than anything, type done right really stands out these days.
3) Every creative gets into this business wanting to concept and create things that have never been done before. They want to win awards. To change peoples minds. And to express themselves through their craft. That was my first 10 years in advertising. Now, the best part of being a CD is helping guide and sell through the visions of younger teams. It’s a great feeling when a team surprises you and challenges you. But, man, I miss getting my hands into the small details of the work. I miss having time to concept on my own or with a great writer. And I really miss any time I can’t be at a shoot. That’s probably the worst part.
4) It’s pretty basic, but I learned not to stress out over the blank page. I’ve come to realize you can’t solve a problem or be innovative unless you understand what you’re solving for. If an idea isn’t surfacing, it usually means you just don’t understand the problem well enough yet. I’ve learned that as advertisers, we can’t forget we are invading people’s lives and we need to respect that. And now that content is so incredibly spreadable, I’ve learned we should always try to keep the quality and inventiveness as high as possible.
5) I think it’s critical we keep our finger on how people are communicating as much as what they are saying. How people talk to each other will continue to evolve, but it’s also our greatest opportunity. I don’t just mean, “will it be more through mobile” (yes, it will), but how within mobile? What apps? What games? What is the vernacular? What is the social currency? And ultimately, how do we keep the brands we are working on in the center of that?
6) I decided to sketch something first thing every morning. I got a book for Christmas – a small sketch book – each pages asks you to draw one or two things. I upload my sketches every morning on Instagram. You can check them out there (andyazu).
7) I predict a lot of change – that’s the safe answer. But that is what is so exciting about it. We are constantly being challenged by not just how to use new technology but how to make it work for the companies we are partnered with. I see our agency continuing to be a content shop that covers existing and emerging media. I see businesses continuing to find new ways to have bigger voices to a more and more refined target audience. And somewhere in there lies the next brilliant award winning work.
