issue #12 Nov-Dec 2007
THE YEAREND ISSUE
On Top of McCann Worldgroup Asia Pacific
CREATIVE RECAP 2007 Rowan Chanen Eugene Cheong Dave Ferrer Paul Grubb Tay Guan Hin David Guerrero Prasoon Joshi Melvin Mangada Suthisak Sucharittanonta Thirasak Tanapatanakul Jureeporn Thaidumrong adobo Person of the Year Spotlight on Vietnam FAREWELL Francis Trillana Rosie Chew Surviving the Philippine Adcon Creative Review by Ted Royer, Droga5 PROFILE Steve Clay
issue #12 September-October 2007
CONTENTS TOP STORIES 04 JimenezBasic Resigns Bench 04 Major Shakeup at DDBI Malaysia 06 TV Threshold Results Inconclusive 06 Miami Ad School Taps BBDO GO 08 Jet Li Stars in new SMB Campaign 10 AdBoard, Ready for Reengineering 13 The 10th Agency of the Year Awards
LOCAL NEWS 30 adobo Design Winners Veni, Vedi, Vici 32 Graphika Manila 2007 36 20th Philippine Ad Congress
ASSISTANT EDITOR DANZ HOLANDEZ COLUMNISTS NANETTE FRANCO-DIYCO
SENIOR CORRESPONDENT HARRY MOSQUERA CONTRIBUTORS MIGS BASSIG
CRYSTAL REBUCAS BARNY RIVERA BUDJIT TESORO AYE UBALDO
REGIONAL/GLOBAL COVERAGE 50 Asia Outdoor Advertising Awards 53 Asia Pacific Effies Launched in World Effies Festival 56 McCann Erickson, PMAA’s Top Dragon 60 Intercontinental Cup Debuts in Valencia 61 London International Awards Judged in Manila 62 US TV Networks Get Crafty with Ads 63 TBWA, World’s Top Network in Creativity
68 REVIEWS Daniel Pink’s A Whole New Mind by Maricel Pangilinan Arenas Bill Buford’s Heat by Pat Go Titus Motolite by Raoul Floresca Mood Food by Gerry Magnaye
72 CREATIVE REVIEW by Akira Kagami / Dentsu Tokyo PROFILES 27 The Rise and Rise of Lou dela Peña 66 Jimmy Santiago, a Thousand More Dreams to Go 84 Jos Ortega, Living the Brand
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Cents & Values by Nanette Franco-Diyco University Basketball’s Rating Logic & Magic by Bong Osorio Great Performance that Brings Great Results MarketMentor by Willy Arcilla Raising the Bar of Philippine Ads
EXCLUSIVES 76 John Hunt: Think Ideas, Not Ads 82 Branded Content: What’s the Buzz? 98 Linda Locke, a Brand of Her Own
Ad Nauseum adobo Ads of the Month Ambush Bang for the Buck Cloned! Creative Showcase Mad about Pinoy Films Mediascape Nielsen’s Top 20 Advertisers The adobo Centerfold The Bigger Picture Truth in Advertising TubeTalk
EMILY IS BACK ON TOP McCann’s new AP Chairman
Retirement remains elusive as ever for Emily Abrera. McCann Worldgroup Asia Pacific has just named her as nonexecutive chairman of its recently revamped regional management board. Her new position is the highest ever attained by a Filipino in a multinational network. Emily, who is concurrently chairman emeritus of McCann Worldgroup Philippines was appointed in recognition of her track record of success in McCann Philippines, which enjoys market leadership as the country’s largest ad agency for over two decades now. The only woman in McCann’s regional management board, Emily’s new mission is to replicate the agency’s success in the Philippines on the regional stage. In her new role, she must build a culture of leadership and excellence in McCann’s offices across the Asia Pacific. Ricki Arches, president and CEO of McCann Worldgroup Philippines, says “We are extremely
Omnicom Media Group Philippines revealed that it appointed Hermie de Leon president and CEO last September 1, 2007. In her new role, she continues to manage PhD with General Manager Lawrence Tan. While she assumes management responsibility of OMD Philippines, Ador Perez remains COO and reports to her. Hermie is a well respected media practitioner in the Philippines. She rose through the ranks while working for JWT, McCann Erickson, Ogilvy & Mather, 141 Bates, BBDOMedia Direction and MediaWise/PhD. She joined MediaWise from Media Direction with a total of 15 staff in mid-2005 and has since grown the company to 38 staff force. Jim Goh, SEA managing director, OMG said that he is confident that Hermie will be a great contributor and impetus to take OMD Philippines to the next level of excellence. OMD is one of the largest media communications companies in the world. It was formed out of the media departments of BBDO, DDB and TBWA. It was named 2005 Global Media Agency of the Year by Adweek, Global Media Network of the Year by Campaign and 2005 Media Agency of the Year in the US by Advertising Age.
proud that Emily has been elevated to this regional post which allows her to share the legacy behind our long-standing business success in this market. She remains a source of inspiration for all of us, and will certainly be a positive influence on the rest of our network.”
Her new position is the highest ever attained by a Filipino in a multinational network. Whether she will continue to run McCann’s affiliate agency Harrison Communications as its provisional chief executive was not mentioned. Emily is considered the ambassador of the Philippine advertising industry and holds the distinction of being the first Filipino judge at the prestigious Cannes Advertising Festival, an Agora awardee for Marketing Management, and a Lifetime Achievement Awardee of the 4As Creative Guild of the Philippines.
Hermie de Leon Leads OMD Philippines
Arc Worldwide Bags Silver in New York’s Echo Awards Arc Worldwide Bags Silver in New York’s Echo Awards Arc Worldwide Manila, the marketing services agency aligned with advertising giant Leo Burnett, won the Silver Award out of 1,124 entries worldwide at the 78th DMA International Echo Awards in New York for its “Book of Revelations,” a direct mailer campaign for Procter & Gamble Philippines’ Beauty Exchange Program. The awards ceremony was held on October 16, 2007 at McCormick Place West in Chicago during the DMA 2007 Conference and Exhibition. The only entry from the Philippines that made it to Round Three of judging and the first Philippine entry featured
in the British direct marketing publication Directory, the “Book of Revelations” is a workbook that featured a simple working mom named Nancy. Arc Worldwide Manila tapped some of the country’s top beauty and wellness experts to give Nancy a
makeover. Nancy’s natural beauty was hidden under rough skin, bad hair, and outfits that were far from flattering. The involvement piece that came with colored pencils simply requested beauty/fashion experts and columnists to suggest a new look for her. Since they encounter women like Nancy in their salons, spas or through their editorial columns, these experts were more than willing to help her out. The “Book of Revelations” is a collaborative effort composed of Creative Director Aina Remalante, Senior Art Director Joan Mateo, and senior graphic artist/ producer Robert Perez, supported by General Manager Stel Angeles, Associate Account Director Ines Artadi, Vina Cruz and Angie Reyes, photographer Jeanne Young, and P&G Beauty Exchange clients Jamie Endaya and Ana Legarda.
Twin Bronzes for BBDO GO & DM9 JaymeSyfu at AOA
DM9’s Eguene Demata accepts his bronze
Apparently, something good came out of Manila’s legendary billboard clutter. It pushed BBDO Guerrero Ortega and DM9 JaymeSyfu to create two of the most imaginative Out-of-Home (OOH) ideas in Asia. The agencies bagged two Bronzes at the inaugural Asia Outdoor Advertising Awards held last October 26 in Singapore’s Suntec Exhibition Centre. The trophies were two of only 18 metals awarded by this year’s jury, led by JWT’s regional creative director for Southeast Asia, Tay Guan Hin. BBDO GO won their Bronze for Bayantel’s “Problem Downloading” in the Billboard Single category, while DM9 JaymeSyfu earned theirs for the iPod posters, for the now-defunct Tower Records, in the Poster Campaign category. David Guerrero, chief creative officer of BBDO GO and a speaker at the AOA conference, gingerly accepted the pate-de-verre glass trophy for his agency. Likewise, DM9 JaymeSyfu was fortunate that Executive Creative Director Eugene de Mata was in Singapore for R&R; he toted its trophy home.
It was a strong performance for the Philippines. Six entries from BBDO GO, DM9 JaymeSyfu and JWT Manila were voted into the finals. BBDO GO had their WWF “Thermometer” in the Poster Single category and the Bayantel ad in the Billboard category. DM9 JaymeSyfu did one better, by scoring three finalists: Coppertone “Carlo” (in the Poster Singles), “Carlo”/”Pool”/”Bus Stop” (Poster Campaign) and the Tower Records “White”/”Red”/”Black & Blue” (Poster Campaign). JWT capped the list with its barf-fest “Swings” for Bonamine in the Poster Single category. At the end of the night, the Grand Prix went to the Japanese firm, GT Inc., and its interactive billboard “Big Shadow” for Microsoft’s XBOX. The entry, which already won big in Cannes, also won a Gold in Innovative Media (Single). Not surprisingly, the Japanese (five wins) and Malaysians (four) dominated the show, while the JWT network routed the competition by collecting six metals (or should they be called “glasses”?) The awards show culminated the three-day conference of the same name. Speakers and exhibitors from all over Asia presented case studies and the latest in OOH technology. With the theme “Change the Landscape,” both conference and competition underscored the rapidly growing and world-changing industry. BBDO GO’s David Guerrero
Tower Records “iPod Red,” “iPod White,” “iPod Black & White” Poster/Banner Campaign Advertiser: Tower Records Agency: DM9 JaymeSyfu Creative Directors: Merlee Jayme/Eugene de Mata Art Director: Gogie Sinson/Louie Sotto Copy writer: Louie Sotto Photographer: Toto Labrador
Bayan “Downloading” Billboard Advertiser: Bayan Telecommunications Agency: BBDO Guerrero Ortega Creative Directors: David Guerrero/ Trixi Diyco/Joel Limchoc/Joni Caparas Art Director: JP Palileo Copy writer: Lissa Boluso/Maui Reyes Print Production: Al Salvador/ Jet Conception/Manny Vailoces
Other Philippine finalists: JW T’s Bonamine “Swings,” DM9’s Coppertone Series & BBDO’s W WF “Thermometer”
newsline SUPREME COURT
Milk Formula Ad Ban Illegal In a 12-0 decision, the Supreme Court ruled last October 9 that ads for breast milk substitutes for infants and toddlers cannot be completely banned to promote breastfeeding. The ban on infant formula, which is part of the government’s Milk Code, should have taken effect last year, potentially affecting milk formula companies and their marketing agencies that spent P2.3 billion on ads in the first half of 2006 alone. For all parties, it was a win-some, lose-some resolution to a dramatic and highly publicized case. The high court ruled against portions of the Milk Code’s revised implementing rules and regulations (RIRR) which had upset milk companies who formed the Pharmaceutical and Healthcare Association of the Philippines (PHAP). “The national policy of protection, promotion and support of breastfeeding cannot automatically be equated with a total ban on advertising for breast milk substitutes,” the high court said. The ban was included in the RIRR for the Milk Code because the ads and promotions were believed to convey subliminal messages that undermined breast milk and breastfeeding, or exaggerated the effects of breast milk substitutes. The Supreme Court recognized that breast milk was best for infants. But it could not support
the Department of Health’s absolute prohibition on infant formula ads because this went beyond the Milk Code’s scope. Chief Justice Reynato Puno said that the total ban on ads of infant formula and breast milk substitutes also affected free speech. Such ads fell within the scope of commercial
two years of age, as stated in the Milk Code, DoH’s Inter-Agency Committee (IAC) may continue to regulate these efforts. DoH still has the power to control what kind of information was put out about breast milk substitutes. Its new implementing rules qualify that promotions of products must be “objective,” which means adverisers should not undermine
“The national policy of protection, promotion and support of breastfeeding cannot automatically be equated with a total ban on advertising for breast milk substitutes.” speech, or speech proposing an economic transaction. He said such speech was not given the same level of protection as other kinds of expression, but was protected nonetheless. The Chief Justice added that the absolute ban on the ads was “unduly restrictive” and “more than necessary” to achieve the government’s goal of promoting the health of infants and young children. The Court also overturned the inclusion of new administrative fines on milk manufacturers violating the Code. It pointed out that the earlier Milk Code rules already had penalties that the DoH can use against erring companies. However, the Supreme Court upheld the other portions of the RIRR that had been questioned by the PHAP. While the DoH cannot completely ban the advertising, promotion and marketing materials for breast milk substitutes for children up to
breast milk or breastfeeding and that they “should not directly or indirectly suggest that buying their product would produce better individuals, or resulting in greater love, intelligence, ability, harmony or in any manner bring better health to the baby or other such exaggerated and unsubstantiated claim.” Following the ruling, the United Nation’s Children’s Fund (Unicef) said the Supreme Court’s decision was still a victory for infant and maternal health in the Philippines. Taking the glass-half-full perspective, Unicef focused on the upholding of new rules that absolutely prohibited all health and nutritional claims for infant formula milk. “This signals an end to the unethical advertising claims that infant formulas increase intelligence—a strategy that has been particularly successful in undermining efforts to promote breastfeeding,” said Unicef.
Magnolia and San Miguel in Asia’s Top 1000 Brands for 2007 Magnolia and San Miguel dominate over hundreds of brands in Media magazine, Asian Integrated Media Limited's and Synovate’s “Asia’s Top 1000 Brands for 2007” survey. The two Philippine brands take top spots in the regional rankings with Magnolia at no. 69 and San Miguel at no. 83. San Miguel Beer is considered the Philippine’s national beer and is bottled and sold throughout Asia Pacific and Spain. Magnolia, which is an established ice cream and dairy brand, is also owned by the San Miguel Corporation. On the “Top 3 by Market” category, the report names Colgate, Mercury Drug and Sony as the first-, second- and thirdranking brands in the Philippines. Synovate did not explain why Magnolia and San Miguel do not figure in this subcategory. Now on its fourth year, the annual popularity survey continued to “highlight the local and global brands that are able to break through the clutter and stand apart from the crowd,” says Peter Jeffery, executive director of Asian Integrated Media Respondents aged 15 to 64 years old from China,
Hong Kong, Taiwan, Thailand, Malaysia, Singapore, India, Indonesia and the Philippines were asked to determine which brand they deem best in 12 major product or service categories. These included alcohol and cigarettes, financial services, automotive, health, retail, food, beverages, cameras and electronic goods, personal/business equipment and services, telecommunication, travel and leisure, baby products, household products, toiletries and cosmetics. The second-best brand was also surveyed from the respondents’ sample sizes per market ranging from 500 to 750. Final results were calculated from the net vote for each specific brand, one vote per respondent regardless of multiple appearances in different categories. Media magazine issued the complete list of “Asia’s Top 1000 Brands,” including expert commentary, on August 24, 2007. The survey provided a solid and credible public opinion poll on the best brands in Asia, Craig Harvey, Synovate’s director of Media Research Asia Pacific said. He adds, “Showcasing the names that have reached this status provides advertisers, marketers and agencies with guidance on the brands that resonate with Asian consumers.”
MANAGEMENT SHAKE UP IN SAATCHI Arthur M. Young, Jr., chairman of the board of Ace Saatchi & Saatchi, is acting president of the agency, after announcing the retirement of the agency’s 14-year tenure President/Chief Executive Officer, Rey Icasas. Almost simultaneously, Young named David Nugent, an industry outsider, as New Business director. The former new business director and the agency’s CFO had since resigned and retired respectively. Word has it that there will be more management changes in the agency. Seen in town recently was Saatchi’s regional director, Pat Brett, who sources say is meeting up with potential candidates to head Rey Icasas the agency.
SMART INTRODUCES AD BLITZ FOR GAMERS According to Bong Mojica, head of the Wireless Consumer division of SMART Communications, Filipinos are ready for ads that are linked to games or delivered inside games. SMART offers gamers, through Level Up! Mobile, a service that allows them to remotely access their Level Up! account and download mobile content. Level Up! Marketing Director, Jake San Diego said that there is a huge base for gamingrelated advertising. Level Up! has 600,000 members, and the country has total of three million gamers which is growing.
UNIVERSAL MCCANN SETS UP BRANDED CONTENT DIVISION Universal McCann has set up a Branded Content division with Kokoy Boncan as director of UM Entertainment and Activation. Venus Navalta, president of UM said, “In the past, content originated exclusively from our media partners, giving our clients only some degree of customization. Now, we are ushering a wider spectrum of possibilities, whether initiated by client, media partner or by us. We will speed up the content development process, cutting down the response time between brand and media partner.” Although UM Entertainment is scheduled to be launched officially in the last quarter of this year, it is already working on brand content projects. Navalta expects the unit to contribute at least 10 percent of total revenues within its first year. november-december 07
Farewell FR ANCIS B. TRILLANA, JR. Chairman, Lowe Inc. 1943-2007
o those who knew Francis, he was a prince. But the man ruled Lowe’s Manila office so smoothly, so elegantly and so quietly, that few outside the network knew he was there. And Francis wouldn’t have had it any other way. Francis started his career in Unilever as a brand manager. Before long, he went on his own as a management consultant. But he was an agency man at heart, and Francis soon followed the calling, all the way to McCann Erickson’s offices in Manila, London and New York. By the time Lowe (then called Lintas) knocked on his door, he was executive vice president and general manager of McCann Erickson Philippines. Despite his creative leanings, he was passionate about business, people and horses, but not necessarily in that order. Francis, or FBT (pronounced fibit) to his employees, believed in nurturing talent, and as a principal shareholder of Lowe Manila, As many would agree, he was not an easy boss. He constantly demanded perfection. He taught me to set high standards for myself and refused to tolerate mediocrity. Working with him was a continuous learning experience. He was meticulous, and he was the world’s greatest nagger…no one ordered FBT around, but guess what? He finally met his match in his grandkids, Celine and Chessie. Mercy Dacanay, Francis’s former executive assistant of 10 years Francis had this amazing ability to cut to the heart of the matter. “Give me ten-centavo words.” He scoffed at polysyllabic jargon. He wanted simple, unembellished truths. “For God’s sake, DRESS UP!” he barked at his creatives. Of course, the man in the Armani suit knew how much image and presentation mattered in this business. In fact, to Francis, everything mattered. “God is in the details.” After a stint with Francis, you realized you’ve stretched to a degree you never thought you were capable of! And Francis would shrug…“Hey, this is the art of possibilities.” He also often said, “You’re fired!” (Uh, Kiko, you fired me last week.) “Well, you’re fired, again!” The more he liked you, the more often you received that line. He was Kick-ass Kiko. Yet when it came to seriously sanctioning an employee, he procrastinated. [Once] he said to me in confidence, “Uhm, I did not want him to be out of a job this Christmas.” Pusong-mamon Kiko. And that is the real heart of Francis. Grace Marci, Strategic Planning Consultant, BrandLab Before I had my open-heart surgery in 1990, he called me to his vast office—which dwarfed Francis. You had to look for his head above his desk. As I sat down, the lightning of Thor the
he consistently invested in people’s growth. Not surprisingly, he received Interpublic’s Robert Healey Award in 1994, as Most Outstanding Chairman in the worldwide group, and was the only Asian to be so honored. Outside advertising, Francis was quite the entrepreneur. He led Treyna Holdings, an investment firm. He was the man behind the companies that produced Mr. Juicy, Whammos and Go Nuts Donuts. He bred racehorses, and his Ranchito San Gabriel stables won all the country’s major stakes races, including the Triple Crown. He charmed people with his sense of style and cocky humor, but in truth, Francis was a very private man. He was uncomfortable in large gatherings and shunned most industry events. Instead, he wrapped himself in a cocoon of family and friends. Oh, but what a glorious cocoon it must have been. Here are a few of those friends, giving us a glimpse of the man who was our ad industry’s best-kept secret.
God of Thunder, hit me when he said: “You are going to have open-heart surgery? Do you know they will cut your chest open? Do you know they will saw your ribs into two to get to your heart?” Then he dismissed me. But [I know] he wasn’t angry because I was to be absent. Fibit just didn’t know how to show affection. I turned back to look at him, and I saw he was scared for me. I survived, FBT. Thanks for your love. Dulce Aristorenas, Former Director of Audio-Visual Production, Lintas Manila Francis, you were bright, fun and explosive. And one of the most stylish bosses I ever had. I’ll always be grateful to you for…making me what I am today. In fact, for making so many of us what we are today. Mitos Borromeo, CEO, Group M Manila I am what I am as an adman because of that guy. Raul Castro, Chief Creative Officer, McCann Worldgroup Philippines Francis was a born mentor. Initially, the mentoring took on a fatherly tone until he realized how opinionated I was. Then it took on a more challenging tone—as if to say, “if you’re so good, show me”…And that went on for a while and brings to mind some of the most heated discussions a mentor and protégé could ever have. [But] in the process, I also discovered what a truly emancipated Filipino male he was. Often, I’d drop by his office to float an idea or two about what to do with the agency. He’d sit back quietly, listen and wait for me to finish thinking out loud. Then when I’d ask him what he thought, he’d break into a sheepish grin and say in true yabang-Francis fashion: “Give me a few minutes to consult myself.” Mariles Gustilo, President & CEO, Lowe Manila
Lintas was a fledgling agency, and we had nowhere to go but up— that’s how bad things were. But I remembered his words of advice: ” Fake it till you make it.” It’s a valuable lesson because our business is all about being positive and optimistic. We have to project that confidence in the ideas that we create and sell it to clients with equal measure of chutzpah, so in the end it becomes a self-fulfilling prophecy. The advice worked…Lintas grew to be one of the top advertising agencies in Manila, and that’s all because of Francis’ leadership and self-belief. Now, we don’t have to fake it, Francis. Because of you, we’ve made it! Eleanor Modesto, Former Country Head, Lowe Indonesia The true mark of a great man is the people that line up to follow him, and the line behind Francis was a long one, which is a lasting testament to his character. His impact will be felt for many years ahead, given the example he set. Peter Leinroth, Senior Vice President, Lowe Worldwide Francis was always, to me, a wise and kind-hearted elder statesman for our little Southeast Asia group. Whenever we met, we would all listen carefully to Francis’s contribution, because of the wisdom he always imparted…To learn that he will never again be the major part of our hub is still simply incomprehensible. Charuvarn Vanasin, Chairman, Lowe Bangkok Sleep well, Francis my friend. I will remember you always. In a business of too many pygmies, you were a giant. Stanley Pinto, Former CEO, Lowe Jakarta & Kuala Lumpur
What a year it has been, filled with world-class ideas that brought together woman power and violence, traffic and tranquility, global warming and cool out-of-home media. Not to mention, auspicious events that finally brought together Lions and Filipinos. To view 2007 in the proper perspective, we assembled a purely arbitrary selection of local, expat, Asians, and other regional creative leaders. So turn the page and see the last twelve months through the eyes of those who truly live for great ideas, the executive creative directors.
Our business very quickly collectively loses any sense of perspective when we discuss creative work. I travel all over, watch TV, go to the movies, flip through magazines, see thousands of posters, and spend an inordinate amount of time online pin-balling between YouTube and other links. Aside from the crazy amount of air travel, I basically see the same things the consumer sees— whether it’s in Shanghai, Tokyo, Manila, Bangkok, I’m bombarded by literally millions of messages and images wherever I go. And to be honest, there isn’t a single thing I’ve seen, in Asia in 2007, where I’ve said to myself “Wow, I wish I’d done that.” Now, before I get accused of being an arrogant (INSERT ADJECTIVE HERE), let me clarify: I’ve seen many ideas I think are absolutely superb, sublime pieces of almost-art, brilliantly and lovingly crafted. But I haven’t actually SEEN them…you know, like where a consumer who’s not in our business would see them
I’VE PURPOSELY GONE THROUGH LAST that some genuinely borderingyear’s AdFest winners, because this on-genius talents in Asia would is the only place I’ve ever seen these rather apply their enviable ideas, which illustrates my point abilities with the end game perfectly. I know there are many brilliant ideas out in Asia, but they’re of winning an(y) award than just on too small a scale. I’ll get to making a genuine significant see them at AdFest next year. Sadly, difference to a product’s history. the all-important consumers won’t. Nothing against awards —I’ve won more than enough myself and with my own London agency dfgw. And my name is on four D&AD Pencils, those little lumps of wood that don’t write, that people seem to want to trade their granny on eBay for. Awards are not what our industry is ABOUT, they’re a INDIAN HAPPYDENT TVC Generally very welcome by-product of using speaking, TV is much weaker in Asia, probably because print is our inventive minds to make a easier to scam. This is a brilliant difference in the marketplace. example of a very old idea done Useful, too, in pushing ourselves extremely well. It didn’t win the big prize at Cannes because the jury to ever greater excellence. thought it not original. Shame— But perspective… show me an original idea, and I’ll In Europe or the US, when show you where it derives from. you’re on a jury, you often don’t need to actually look at all the entries, because more often than not they’re already very high profile and you’ve already seen them in the real world and they’ve been written about, talked about, hyped, whatever. They’ve actually appeared before the general public, and made a difference in CLIMA SECURITY BIKE LOCK Brilliant idea. Wish this kind of some way. inventiveness was applied to the So my take on much of Asia, big stuff that everyone gets to see. is not that the talent doesn’t exist; Let ’s face it, Clima is not the next it most certainly does, but the household name… sense of reality doesn’t. Your mission, should you choose to accept it, is to harness your brilliance, not by setting out to win another award, but to make a difference, change perceptions on a big scale, move products, —in the streets, on the telly, in make a brand globally famous. magazines and so on. I’ve seen Think big. them at awards shows for sure, Don’t you ever wish you’d been POND’S I prefer this execution but then I didn’t see any moms the one to create the Nike campaign because it uses the limitations the medium and is therefore with their kids at those shows. way back? Every square inch of the of transportable and could appear You know, real consumers. planet you go, people are wearing globally. The open pore execution what YOU persuaded them to is a great one-off stunt limited to “...harness your wear…? Oh, and if you do that, you a few hundred consumers. brilliance, not by WILL win an award… setting out to win Oops before I forget, there was another award, but one thing I saw, in situ in Asia, that to make a difference, I wish I’d done this year—a viral for Carlsberg, where the guy drops a change perceptions on a big scale, move Mentos in it and jumps back. Don’t know how many clicks on it but no products, make doubt millions and I don’t think it a brand globally was done in Asia, it could have been famous. Think big.” CARLSBERG VIRAL This is hilarious. anywhere, but I WAS in Bangkok drinking humour for sure, See, I’ve got an old fashioned when I saw it, as a consumer. That’s Beer but spot on. Would like it on my sense of what our business is how the world works now… reel, please. about—using creativity to sell, persuade, make people think, in PAUL GRUBB, Regional ECD, Lowe short, have some kind of effect. And some of the creativity advertising in London in 1979, as the first creative at the newly I see in Asia is the best I’ve seen Started formed Gold Greenlees Trott agency. // Worked there ten years, winning in 28 years in the business. But enough awards, becoming a board member and shareholder of GGT, very little of it is truly applied to eventually leaving in 1989 to start Duckworth, Finn, Grubb, Waters. // dfgw the raison d’être of our business, was one of the most respected independent agencies in London through the 90's, also winning enough awards, and being a fantastic business namely to make a difference success. // Still own 13 percent but left dfgw after 15 years in 2004, looking to a client’s business. It’s a sad for a new challenge. // Found it in Asia and Lowe! fact (in my opinion anyway)
Creative Recap 2007
Who inspired you in 2007? Frank Sinatra, or more specifically what he said: “If you want to get an audience with you, there’s only one way. You have to reach out with total honesty and humility. This isn’t grandstand play on my part; I’ve discovered—and you can see it in other entertainers—when they don’t reach out to the audience nothing happens. You can be the most artistically perfect performer in the world, but an audience is like a broad: if you’re indifferent, endsville. That goes for any kind of human contact: a politician on television, an actor in the movies, or a guy and a gal. That’s true in life as it is in art.” When the person you’re talking to sense that you are not being totally honest with him, he stops listening to you. I suppose that’s why so many people are migrating to the net. There they get all the information and entertainment they want, unabridged and unedited. People are sick of bullshit, on the net things are raw, but real.
“You can be the most artistically perfect performer in the world, but an audience is like a broad: if you’re indifferent, endsville.”
2007: Good, bad or vintage? 2007 was my hat trick year in Cannes. Khai and I won a Gold Lion three years in a row. Question is can we do it four years in a row?
EUGENE CHEONG Regional Head of Copy Ogilv y & Mather Asia Pacific
Is challenge is a four-letter word? It’s always a challenge to do great work on big clients. but being the sadomasochists that we are, we continue butting our heads against the wall. Et tu, 2008? I am looking forward to producing a gorgeous little animated film for Huggies. The client loves the idea, so we’re keeping our fingers crossed andhoping we get the resources to make the film.
Eugene has been in the advertising business for over two decades. He spent most of his career at Ogilv y, except between 1991 and 1998 during which time he was led astray to work for the enemies at Batey and then, at Euro RSCG where he was creative director. // Eugene was the first Asian to win a One Show Gold Pencil (21 years ago), and the first to have his work accepted by the D&AD (17 years ago). He has won more Gold Lions and Gold Pencils than anyone in Asia. (No Yellow Pencil yet, unfortunately.) In 2005, he was the chairman of the Creative Circle Awards, Singapore’s premier awards show. // Eugene is statistically Asia’s most awarded writer. Not bad for someone who flunked English in secondary school.
2007 is one of the best years for the Philippines in international festivals. The country fared well in Cannes, bringing home its first gold, more medals and a longer shortlist from more than a handful of agencies. Our agency’s work was shortlisted in Cannes, London International Awards, and AdFest, and brought home a couple of medals from the New York Festivals, and I believe the only medal for the Philippines at the AWARD show in Sydney. Despite this fine performance, other shops fared much better in the global scene. As the industry is getting better and better in award shows, the scary truth that confronts us locally is that creative agencies’ business is getting tougher and tougher. Practically everyone is offering creative solutions to advertisers. Media agencies have become
more than planners and buyers of media space. They’ve begun providing clients with extra service— creative work written by in-house writers, freelance creatives or even media executives themselves! TV networks have become willing providers of creative packages, using an armory of their most viable talents as added attraction. Never have station-produced ads become so in vogue. Forget Miriam Quiambao who, a couple of months ago swore by her new moisturizer and its total effects.
This time around, one thing’s clear to her, her anti-dandruff shampoo. Let’s not even worry that the consumer might be confused about the products she’s selling. After all, KC Concepcion has a handful of endorsements on air; Juday has a dozen, and Kris Aquino has one product for every day of the month. Production houses are also entangled in this issue on creative authorship. It is a fact that they do have direct clients but lately, invitations to bid for network storyboards have become more frequent. Someone once lamented, “Production houses exist because of ad agencies. By accepting invitations to bids from networks, they’re practically biting the hand that feeds them!” Well, at the current state of our industry, anyone will chew on anything. Creative agencies reacted indignantly to all these developments in the industry. In hindsight, we shouldn’t begrudge networks, media shops and production houses for doing their own brand of creativity. I have always espoused the thought that the creative department is not the exclusive province of creativity. But clearly in this case, creativity is borne out of the bottom line—cost and efficiencies. It’s just business, their way in the new order of things.
“It is up to us creative agencies to reinstate creativity’s premium.” Creative shops, on the other hand, have developed a higher awareness on the significance of award shows. The new breed of creatives particularly, looks at awards as their way up the ladder. There is absolutely nothing wrong with that. In fact, creative recognition is im-
portant in their resumes and for their agency’s reputation. I’m still on the hunt for a Cannes Lion myself but the chances are getting slimmer when a TV network is writing the ad. What seems to be more urgent is raising the creative’s consciousness to what creativity really means in this moving landscape. It’s not anymore about your favorite medium—print, nor is it just a 30–second TV spot. Creatives shouldn’t be beholden to any medium but in fact, control the medium. They should recognize how potent a fresh idea is for a market that has evolved from a consumer to an audience, an audience that has become more elusive than ever. We should be smarter in conveying the idea, that speaking to them is rather more effective than speaking at them. Imagination, intuition and instinct are powerful tools of acreative mind that enable us to reach and excite our intended audience. Ultimately, creativity should prevail over cost and efficiencies. It is up to us creative agencies to reinstate creativity’s premium. A creative mind is so prolific, it can absorb more and evolve faster than any other. We simply have to be wiser and more insightful and, as TBWA\Worldwide Creative Director John Hunt says “always take more intelligent risks.”
If we continue to improve on creating work that will be loved and will evoke a response from your audience, if we use our very own brand of creativity, to learn and understand how to touch that viewer, as only a creative agency can, nothing else matters because I guarantee, everyone else will want you working for them.
MELVIN MANGADA Executive Creative Director & Managing Partner TBWA\Santiago Mangada Puno For Melvin Mangada, it all started in the Universit y of the Philippines where he was hired to join Saatchi as an Art Director in 1987. In less than a decade, he was appointed VP-executive creative director, leading the agency to win in the country ’s creative award shows including 4A’s Best in Creative in 1999 and finally, Agency of the Year in 2000. In 2001, the Creative Guild of the Philippines’ honored him by making the first member of its Hall of Fame. // Soon after, TBWA\Santiago Mangada Puno was born. As chief creative officer, Melvin Mangada helped create the reputation the agency enjoys today— one of the country ’s premier creative shops and 4A’s Agency of the Year, 2004, 2005, 2006. Little wonder he was invited to judge in numerous award shows, such as the Asia Pacific AdFest, the London International Advertising Awards, Media Spikes and the New York Festivals.
Creative Recap 2007
His Creative Wellspring I was strolling along Lincoln Road, Miami Beach, after the Clio judging, when I stumbled across an art gallery. What struck me was a fully painted Steinway piano on display. It was created by none other than Romero Britto, who is famous for combining elements of
“This year’s challenges? Besides clients diluting great work, account service people pandering to clients’ expectations, and creatives leaving because they had won so many awards…not much.” cubism and pop art. Vibrant colors and optimistic subjects have always defined his work, which I love. Turning an object we often assume to be black into something colorful made me ponder about the way we view everyday things. A few months before, my wife and I were introduced to his work while hunting for sculptures for our living room. Instinctively, we bought a ‘Heart’. Britto’s concern for the youth and commitment to fundraising projects drives him to use art as a vehicle for carrying messages of joy and celebration of life. I believe that’s one of the reasons why his work is so attractive to everyone. The Year, So Far At the beginning of the year, Campaign Brief Asia placed JWT network in second position.
Which was a big surprise to me. Personally, I’m extremely happy that five of the six countries in JWT’s SEA network are doing so well. Vietnam has just started, but I’m sure it’ll pick up soon. Bangkok and Malaysia have always been doing fantastic jobs. However, this year’s highlights belonged to JWT Manila, JWT Jakarta and JWT Singapore. JWT Manila delivered their country’s historical first Gold Cannes Lion. JWT Jakarta brought home another historical first Cannes Lion for Indonesia. And JWT Singapore was the top-performing agency in the country for THE WORK 07. I’m very lucky to have talented creative heads like Pinit Chantaprateep, Edwin Leong, Ali Shabaz, Dave Ferrer, Juhi Kalia and Ompong Remigio in the network. All the results are a combination of teamwork and a tremendous effort on their part in pushing the bar to the next level. Some Things Never Change This year’s challenges? Besides clients diluting great work, account service people pandering to clients’ expectations, and creatives leaving because they had won so many awards…not much. But Thankfully, Some Things Do I’ve recently been appointed the Global Creative Director for Lux. It’s a huge responsibility. The brand has done some amazing work in Brazil and Argentina, and it’s my personal challenge to continue and build upon that success in Asia.
TAY GUAN HIN Regional Executive Creative Director JW T, Singapore From the start of his career, Guan’s drive to excel has resulted in wins at Cannes, One Show, D&AD, Clio, Asian Advertising Awards, and Adfest. Campaign Brief Asia ranks him as one of the region’s top ten creatives for the past four years and as seventh in the magazine’s publication The Work: 2004. // Passionate about raising standards, he’s also keenly sought as a judge, speaker, teacher, industry commentator and critic throughout the world. // On March 2005, Guan joined JW T. In 2006, his six offices in the Southeast Asia region contributed in making JW T as the no. 1 network in Media Awards. His achievements were further recognized when JW T Worldwide announced his appointment to a permanent member of the Worldwide Creative Council.
JUREEPORN THAIDUMRONG, CEO and Chief Creative Officer, Jeh United, Bangkok Everyone likes to call Jureeporn “Jeh Judee” which, in Chinese, means “big sister” because of her 18-year experience in the industry and that she’s been all over the world as guest speaker and judge. // She began her career at DY&R and eventually moved to Leo Burnett, Results Advertising (an Ogilvy and Mather Agency hot shop) before signing up with Saatchi & Saatchi to be executive creative director in 2001. // She started her own creative power house, Jeh United, in 2005, and it quickly became the 18th world most awarded agency according to GUNN Report. Judee was also named Asia Pacific Creative of the Year in 2006 by Media magazine. Her very first campaign, “Love Story” for Smooth E Baby Face Foam, won in four major Asian award-competitions, namely, Best Film in Asia Pacific AdFest, Best of Show in Asian Award (Spike), Gold in AWARD and a Gold Cannes Lion Campaign. // Her near-celebrity status was raised by winning the first Gold Cannes Lion for Thailand from the work of Tabasco’s “Cigarette”, and Thailand’s first Silver Pencil from D&AD for Streamlight Torch’s “See What Really Out There”.
“...when Thailand had an economic crisis...we needed our self-sufficiency to build deeper roots in order to grow stronger.”
Internet and digital media are also developing super fast. In 2007, I’ll try to develop online media slowly but surely. I have some exciting opportunities for new ideas. ‘Another challenge I’m lookLike many great creative ing forward to in 2007 is growing minds, Judee finds inspiration in together with our local clients fields outside of advertising—even toward the same goal. economics. ‘I also want to be successful “The Thai King, King Bhuin the campaigns where we apply mibol Adulyadej’s sufficiency eco- my king’s theory…the theory that nomic theory, is my great inspira- is so powerful it needs to be cartion for my life nowadays. It was a ried on to more and more people, great creation and a long-lasting to acknowledge how great and thought that we just gave attention possible it is.’ to. The theory soothes not only ‘What I’m looking forward Thailand but also the world. to the upcoming year is that I ‘The moment we knew that want people to value the content this theory was great was when more than the media, because no Thailand had an economic crisis, and we needed our self-sufficiency to build deeper roots in order to grow stronger. The theory is a great philosophy that can actually be applied in real life, the world and many other things in life, even the global warming situation.” For Judee’s agency Jeh United, Smooth E continues to be the brand that keeps on winning. Judee says, “The Smooth E Scrub (Teen-story) TV campaign was
very difficult because not only did we have to make it better than the first campaign (Smooth E Love Story) but we also had to compete with other large corporate brands such as Dove, who jumped in and played hard since my last campaign was aired. The audition dance ‘Jam’ was great and new; that’s why it won ‘People Choice Award in The One Show’.” “For my new challenge in Thailand, TVCs were still the most important factor in advertising but
matter what kind of media we use or create, it is only for delivering great content. It seems like we are now more into searching for new media than finding better things to communicate. To this point, I would love to see a development of great ideas in any media (traditional and non-traditional) to be more interesting and effective. ‘ ‘Lastly, I look forward to a non-political award show. That is the reason why our new creative works are rolling backward.”
Creative Recap 2007 As the year chugged along, there was much talk about globalization in our business and amongst the detractors, the sense of uneasiness that it’ll bring as a byproduct—standardization. On one hand, there are apprehensions of a global village that will blanket the indigenous and sanitize it with sensibilities international; of nuances of local cultures being sacrificed and diluted for a larger audience connect. And on the other, the desire to market our indigenous creative product in a we-are-likethis-only avatar that should transcend cultural boundaries. Perhaps contrarian, from my vantage point, this vista seems a trifle different. Changing the lens a bit, to observe a child is always an experience. Everything to her is new, fresh. A shining spoon means a tool to make noisy music; the tail of a dog, a hand fan; the pattern of the floor tiles as engaging as a fresco, and even the act of her father lathering and conducting his morning shave, no less than a spectacle. But as adults, the world around us slips into autopilot. Our glance on the everyday life becomes sterile. It ceases to amuse, engage, stimulate. The charm chips away. I sense that globalization will rekindle the child in us. For the unfamiliar is an alchemist. It is turbulence that exudes the creative sap. The flavor, the essence changes when a new and different frame of reference seeps in. And it is not just a fresh view or a surprising interpretation that globalization facilitates. There is additionally, what I term as the “juxtaposition art”, which emerges. Given a particular block of sensibilities and then being exposed to another gives rise to new idiom. It is not about noticing or celebrating cultural differences, it’s about being able to see a totally different take on life. As cultures interact, they will not lose individuality but instead create opportunities for a new creative language— hopefully, languages—to develop. And I more than believe that globalization will help create the “alien eye” that we so need for ourselves and for the commerce of our creation. Having said that, let me change track to talk about a few pieces of work that caught the attention from what I saw this year. For instance, Fallon London’s campaign “Tate Tracks” for the Tate Modern Museum. The task was to get more footfalls from the youth 16-25 age band. The idea that was hit upon is fantastic. Musicians that appealed to this demographic, such as Chemical Brothers and Graham Coxon from Blur were invited to
with a hipper vibe from its more family-oriented competitors like McDonald’s. The Skittles Ad campaign (by TBWA\Chiat]Day/New York) is another favorite. The guy with a weird, three-feet-plus long beard at a job interview with his beard moving like an elephant’s trunk, feeding himself and the woman interviewer Skittles from the desk. A completely out-of-context glimpse at these two radically different people, with only a love of Skittles connecting them. The other features a man trading a bag of Skittles for a singing bunny, which seems like a good idea until he realizes the bunny never shuts up. He tries to return the bunny and get his Skittles back, but of course, he can’t. Nothing is ever explained in this ad, you’re just tossed into it. For another ad, that could be a detriment, but in this case, it works. Skittles work been great both in execution and in their odd surrealism. A perfect way to grab attention, especially of people who enjoy the weird.
PR ASOON JOSHI Chairman McCann Erickson India Regional Creative Director McCann Erickson Asia-Pacific Prasoon Joshi is credited with creating a new language for advertising in India. He chose to exploit the inherent “chaos” of the Indian way of life and created a distinct identit y for Indian Advertising. More than 400 advertising awards including Gold Lions at Cannes, AdFest Asia, Media, as well as honors at One Show and Clio and a surfeit of national awards stand testimony to his achievements. // Recently, the World Economic Forum designated Prasoon as a “ Young Global Leader.” He joins 175 leading executives, public figures and intellectuals under the age of 40 who have been selected to collectively shape the world’s future. He has also been nominated to be part of Asia 21 Young Leaders Forum; the AsiaPacific communit y ’s leading young leaders initiative.
walk the gallery and find a piece of work that inspired them. Each musician then wrote a track of music that was released exclusively inside the museum via listening kiosks in front of the artwork, offering visitors the unique opportunity to experience the music in the same place that it originated. I think it’s a brilliant juxtaposition and a completely new take on how a great idea transcends TV, Press, Digital or any such restrictive definition.
“...globalization will rekindle the child in us. For the unfamiliar is an alchemist. It is turbulence that exudes the creative sap.” Another interesting campaign I saw was literally the resurrection of Burger King through a royal personage clad in burgundy robes and a crown: the “king,” whose head appears to be made of plastic and is perhaps three times too large for his body. Using a ridiculous plastic head, and absurd situations where this mascot makes appearances—next to you in the bed in the morning, during a soccer game—give this ad an edgier mood and wink-wink mode than that of your average fast food campaign. And that perhaps is the goal to differentiate Burger King november-december 07
2007: The Year, in Movies This is the year a friend of mine, Alexi Tan, made his first feature “Blood Brothers” and had it chosen as the closing film at the Venice Film Festival. And despite not making any movies—or at least none longer than 45 seconds with a logo on the end—I thought I might as well pretend my life this year was a series of epic productions. The Lion King Cannes was a big highlight. Being jury president is about as high pressure as it gets. And delivering the results to the assembled creative multitudes comes a close second. I'm just happy to have survived the
Lions’ den—and look forward to being a spectator next year! Metal Gear Solid Awards: locally, we won the print campaign of the year and the award for best copy for FedEx. Internationally, we picked up One Show Silver and Bronze pencils, got “in the book” at D&AD for both poster and direct, got Silver and Bronze Lions at Cannes. Retained our Campaign Brief Asia “Agency of the Year" title and we were ranked in Asia's Top Ten in The Work.
The year got off to a disappointing start at AdFest and Media but picked up significantly when we got word from the big international shows. Overall, we're happy—but not satisfied—with the recognition we got. In some ways, it was the agency's best year yet. But also,
knowing some of the work that “got away” through various executional problems—or simply by not being sold—we know we can do better. The next step, of course, is to build on what we've achieved and take it further in whatever ways we can. The Usual Suspects The challenges, as always, were in execution. There were a number of big ideas we were proud of. But producing them to a standard that did them justice was more of a
“The challenges, as always, were in execution. There were a number of big ideas we were proud of. But producing them to a standard that did them justice was more of a problem.”
problem. Quite often the problem was trying to do too much with not enough money. But it's not just about suppliers and budgets. Often, it was about trying to say too much with not enough time. Or simply not saying “can't be done.” It's not quite the same as “no” but has the same beneficial effect. Sometimes, gloriously, it all came together. But when it happened, it was with all of the above factors taken care of. Around the World In 80 Days The biggest surprise was going to the Edinburgh Fringe for the first time. It's an open—and sometimes open-air—experimentation with thousands of literary, comedy, drama and music events. I met Clive James, Ali Smith and a guy who stands in the street and manages to squeeze his entire body through a
toilet seat. Suddenly, you see a lot of people who are putting a lot more on the line for an idea than you are. I enjoyed seeing creative consultant Tom Monahan speak at the BBDO Creative Directors conference in Miami. I got hooked on Nike Plus as a consumer and then saw it win a
Titanium Lion in Cannes. A great example of a digital product that creates tangible value for a brand other than itself. Finally, of course, the dancing prisoners in Cebu that got the Philippines to the top of the global viral video charts with “Thriller.” It all goes to show the best ideas are closer than you think. Sunshine Next year, I look forward to doing great things with all the brilliant, talented people in the agency. Working with brilliant, talented people outside the agency. And, obviously, thinking very positively.
DAVID GUERRERO Chief Creative Officer BBDO Guerrero Ortega David won his first award while on an agency placement in London. And that probably set him on the road to being named one of Asia’s top 10 creatives by Campaign Brief Asia. // The same publication has named BBDO Guerrero Ortega in Asia’s Top 30 and as Philippines Agency of the Year in both 2006 and 2007. // He worked in Hong Kong from 1990 to 1995 and was responsible for some memorable work in that period, notably a worldwide campaign for Cathay Pacific Airways. His awards include Golds, Silvers, Bronzes and “in the book” at Cannes, Clio, The One Show and D&AD. // This year, he was the president of the Radio Lions jury in Cannes and previously chaired the print jury at Adfest and Melbourne Art Directors Club. In addition, he worked on a number of other international and regional juries.
Creative Recap 2007
The Year According To Thirasak As a sought-after juror in regional and global award shows, Thirasak travels all over the world. Despite having seen the world’s most creative ideas, he was blown away by something that had nothing to do with advertising.
“I want to maintain creating the great works. Which is not just for people in Thailand to appreciate but throughout the world.”
“I visited Franz Kafka museum in Prague. His life inspired me…[he was driven by] passion and hungry. When he [was] alive, he created awesome works like the ‘Metamorphosis’.” As if his collection of Lions, Pencils, Clios, Andies and Lotuses wasn’t enough, Thirasak was voted
No. 1 Creative in Asia, and Creative Juice\G1, Asia’s Agency of the Year by Campaign Brief Asia 2006. In addition, “Creative Juice\G1 [was chosen] the 9th most awarded agency in the world by the Gunn Report 2006 and Asia Pacific’s Office Of The Year By Media Asia Pacific of the year 2005.” Media also named him Creative of the Year. “Definitely, I feel fantastic. Not just me but the whole agency is on top of the Asia Pacific.” When you’re one of the world’s hottest and most awarded creative minds, what else can you possibly want? He says, “I want to maintain creating the great works. Which is not just for people in Thailand to appreciate but throughout the world.” He also wants “to roll out more of Creative Juice offices. Not only in Asia Pacific, but worldwide.”
THIR ASAK TANAPATANAKUL Worldwide Co-Chairman & Executive Creative Director Creative Juice Thirasak Tanapatanakul is one of the most celebrated Asians in advertising. He has won three Gold Lions, four Gold Clios, Yellow Pencil D&AD, two Silvers from The One Show, Andy Awards of Excellence and two Grand Prixs in Asia Pacific Ad Fest from 2001 to 2005. // After he joined with Creative Juice\G1 (TBWA) in 2004, Thirasak created high reputation for the agency in a short period of time. This resulted in the agency becoming the world's 9th most awarded agency, as ranked by The Gunn Report 2006 and the world's 7th most awarded agency, as ranked by Shots Grand Prix 2005. // He represents Thailand as a jury member in numerous international award shows, including Cannes Film 2006, Andy Awards 2007, D&AD Film 2007, Young Guns 2007 and World Press Award 2008.
2007 is not a great year for Thailand. The unpredictable political situations directly affected the economy of the nation. Without saying, the advertising industry became its victim, too. Even though the advertising budgets are cut and decreased, clients however have increased their demands to the agencies. 2007 is a year of gloom; the gloomy atmosphere created a year of creative gloom—hardly nothing fresh came out of the industry. But we have to survive and strive on. And we did in 2007. We won a Cannes Gold for HomePro “Anyone can sell,” a Bronze Lion for Tesco Lotus “Fresh” Print. We grabbed a Gold at the One Show for the Brand and Corporate Identity for “Wet card.” We received a Bronze World Press Award for Maglite’s “See the Dark Side.” And we strike Gold again for Seiko’s “Alarm” Campaign. At the AdFest, we also got Silver and Bronze for Smart Purse’s
“2007 is a year of gloom, the gloomy atmosphere created a year of creative gloom...But we have to survive and strive on.” “Tissue” and a couple of Bronzes for Giffarine’s print campaign of Firestrike Liquid Suppressor. All of the mentioned also won awards at the local show, “The Adman.” 2007 was the year we created the first-ever ad industry reality show—Enter the Lotus—which taught us that not everything is as easy as it looks on TV! After taking a good look, it was not a great year but not that bad either. If you strike to produce great work, come what may!
SUTHISAK SUCHARITTANONTA BBDO Bangkok Chairman & Chief Creative Officer Known as the most awarded creative director in Asia, Suthisak has been ranked no.1 on Thailand Creative Rankings chart by Campaign Brief Asia since 2001. // Under his leadership, BBDO Bangkok ’s creative award recognition is at all-time high. He made history by winning the only Cannes Gold Lion awards, capturing the GUNN Report 8th World’s Most Awarded Agency title in 2004, winning Thailand’s first Cannes TVC Gold Lion in 2003, and most recently topping the Thailand’s first Adman contest by winning the most awards, including the coveted Agency of the Year in 2004 and 2005.
Creative Recap 2007
“We really need to be working harder at finding something new to say.”
Where have all the insights gone? I never realized it. This year’s award annuals are actually fantastic investment guides. It’s easy to see where I should be putting my money. After all, the demand for flashlights, batteries, stain removers, dental floss, pushup bras, absorbent towels and children’s building bricks is at an all time high. Clients must be in a frenzy right now, struggling to meet the enormous consumer demand for these products. A demand that naturally explains why I am seeing so many of these ads at every single award show I attend. I must call my stockbroker right now. But seriously, is this what it’s all come to? Or is it just a reflection of the rut we seem to find ourselves in? Where has all the imagination gone? More importantly, have we really forgotten what makes great advertising? Where are the insights? We seem to be so preoccupied with waytoo-trying-to-be-clever ads created for the most obvious of products, instead of putting our collective energies into thinking about great ideas. Now don’t get me wrong. I love clever ads. Great one-offs that make you smile, laugh or cry—they’re great. We need them. Many of us have made great careers out of them! But we need big ideas, too. We need smart, relevant insights that truly understand what consumers are feeling and what motivates them. It’s easy to see why the most interesting and fresh ideas are coming from the digital and integrated end of the spectrum. Communication is dialogue. But the press and poster sections in particular seem to be bogged down in monologue. The best and brightest examples of our craft should be the most progressive and freshest ideas that we can muster. Instead, all we seem to be honoring are self-congratulatory executions that rehash the same superficial thoughts for the same kinds of clients. We really need to be working harder at finding something new to say. Let me call my stockbroker—maybe he has some insights…
ROWAN CHANEN Regional Executive Creative Director Y&R Brands Asia Rowan Chanen is also Executive Creative Director of Y&R Singapore. In this role, he works closely with teams across creative departments and account management to ensure that client partners are satisfied with the agency ’s creative effort. // He began his career at BBO and DDB. At these agencies, Rowan worked on a variet y of businesses including airlines, newspapers, network television, toy companies and packaged goods. Rowan also spent four years at Bates, Hong Kong, where he worked on various accounts throughout the agency and advances the agency ’s creative reputation there. // Rowan is ranked as one of the top 10 creatives in Asia by Campaign Brief Magazine. He has won recognition for this work at the world’s major award festivals, including The One Show, Clio Awards, New York Festivals, London International Advertising Festival and the Asia Media & Marketing Awards.
CreativeRecap Recap2007 2007 Creative
20th Philippine Ad Congress
All The World’s
hen you’re handed the country’s newest and largest convention hall, and told to mount a show that features Aeta tribesmen and a snow globe, how do you go about it? That’s the question that had Publicis’s Marlon Rivera, the subcommittee chairman for staging, flummoxed. At least for a while. Of course, the reaction is perfectly understandable. The cavernous hall that is the Subic Convention Center is touted to hold 5,000 people. That’s big enough to hold all the delegates, the thousand-strong Araw Awards pala and then some. Moreover, the space is so long that some committee members initially feared that the people at the back would never see the stage. The Subic administrators fixed that problem by installing LCD panel TVs from one end of the hall to the other. With this unique video wall, all the elements of the Opening Ceremony fell into place. The sticky political protocols, the ubiquitous PowerPoint slideshows, the Parade of Agencies, the Aetas and that snowglobe—they would all blend seamlessly on digital video.
“The Opening Ceremony will revolve around the magical use of space,” said Marlon. Not to mention, the use of new media. As for the Araw Awards, the staging committee envisions a much simpler show this year. People are looking forward to winning and celebrating, so Marlon and his team are giving them just that. Awardees are even going to be
So the New Order no longer includes jazz-inspired production numbers featuring telenovela starlets, talk show hosts who inevitably mispronounce Ogilvy and Mather, and three-minute waits between segments. announced by metals, not by categories. And for those dreading a night as protracted as the Oscars, there’s good news. “We stood firm and refused to sell segments of the show to network sponsors.” So the New Order no longer includes jazzinspired production numbers featuring telenovela starlets, talk show hosts who inevitably mispronounce Ogilvy and Mather, and three-minute waits between segments. The overwrought
staged-for-broadcast ceremony is firmly a thing of the past. Sorry, dear kapamilya and kapuso, this AdCon’s closing ceremony is strictly an insider’s event. Announced Marlon, “This will be an Araw Awards staged just for us.”
For the Parade of Agencies, the theme of New Order may throw the 4As member agencies for a loop and a half. This year, agency reps must portray concepts, practices and institutions that may or may not survive the New Order. Snail mail, for instance. Tough brief. Hmm, how does one dress up as snail mail?
YOUR AD DELEGATE HERE
20 th Ad Congress Venue All Ready And Renovated Yoly Ong receives the key to Subic
If you build it, they will certainly come. From November 21 to 24, 2007, some 3,000 delegates are expected
to troop to this year’s Ad Congress. That number is expected to swell even more when the Philippine Araw Awards, the country’s most awaited awards show, takes place on the final night of the AdCon. To accommodate all the attendees, the Subic Bay Exhibition and Convention Center was renovated some months back: additional monitors installed, generators re-tested, seats re-upholstered—the works. Finally, after months of construction and improvements, the newly renovated Subic Bay Exhibition & Convention Center (SBECC) was turned over last month to the
20th Philippine Advertising Congress Committee. In the ceremonial turnover rites held in at the venue itself, Subic Bay Metropolitan Authority Administrator Armand C. Arreza personally handed over the key of Subic to the 20th Philippine Advertising Congress Overall Chairman Yoly VillanuevaOng of Campaigns & Grey. Adding a local touch to the proceedings was the presence of Subic’s Aeta tribesmen (and stars in their own right, thanks to the 20th AdCon television commercials) who gamely participated in production numbers led by
Subic s Mondriaan Aura College Dance Troupe. Now among the most modern convention centers in the country today, the SBECC will certainly be re-used even after the AdCon festivities are but a memory. Still, for four days this November, it’ll more than hold its own against the deluge of survivalists—tribal or otherwise.
Media Partner / 20th Philippine Advertising Congress
Media Partner / 20th Philippine Advertising Congress
A Stage Healthy, Wealthy And Wise John Gokongwei Jr. Some things, you can’t afford. Like taking first class trips to Europe. Nor owning a fleet of Ferraris. And, add to that list, ignoring John Gokongwei Jr.’s wisdom. Yes, he is a billionaire many times over; that much is true. But the gentleman set to deliver the keynote at the 20th Philippine Advertising Congress is more than the net worth of his companies. Gokongwei originally came from the Fujian province in China. He was born into a wealthy Cebu-based family, which experienced a reversal of fortune when his father died. Not content with his circumstances, the young Gokongwei made preparations for a better future. During World War II, he started a buy and sell business that dealt with rice, cloth, scrap metal and other basic essentials needed to survive that time of hardship. Now, a lesser man would be content to make a small profit and leave it at that. Not John Gokongwei Jr. As the years progressed, his business grew, and so did his ambition to provide a better life for himself and his family. Fast forward to 2007. Can’t live without Sun Cellular’s talk-allyou-want plans? Courtesy of his Digitel Telecommunications. Shopping lover? Robinson’s beckons. Flying on a budget? Cebu Pacific Air, at your service. Thirsty? Try some C2 green tea from Universal Robina Corporation. And then there’s that personal conglomerate of his called JG Summit Holdings. All things considered, his wealth is enough to count him as one of the richest men in Southeast Asia. Yet money alone doth not make the man. Some months ago, Gokongwei puplished a book entitled John L. Gokongwei Jr.: The Path of Entrepreneurship which detailed his riches-to-ragsto-riches story. In it, the master businessman declared that entrepreneurship is the way out of poverty. (Yes, he would know.) That’s why Gokongwei’s opening speech is such a must-see for every delegate. Because this is the perfect opportunity to learn from the taipan himself. Armed with those nuggets of wisdom, you yourself will certainly be the richer for it.
Two Thumbs Up
Nokia’s Recent Short Video Competition A Success Nokia Philippines recently wrapped up its CineMaiksi (a wordplay on “short films”) Mobile Filmmaking semifinals at the G Hotel in Roxas Blvd. Sixteeen twoperson teams from different Philippine advertising agencies joined the weekend workshop and were given filmmaking and editing tips by noted director and filmmaker Jim Libiran, master digital editor Dominic Salvacion, and cinematographer Poppet Celdran. All the participants were tasked to come up with a 60-second material based on one of the two given themes: Only In Manila (capturing what makes Manila unique) or You Know You’re Pinoy If…(showing what makes a Filipinos stand out when in other countries). After the judges sifted through the submissions, the field was narrowed down to the five dynamic duos. Among the fortunate finalists were Meck Besinga and Ana Menguito (DDB Philippines), Argem Vinuya and Maki Maquiling (DDB Philippines), JP Cuison and Mela Advincula (Leo
Burnett Manila), Kara Bautista and Joey Claroniño (JWT), and, last but not least, Katrina Encanto and Nicole Tolentino (Ace Saatchi & Saatchi). All went home with a Nokia N95 multimedia computer and were automatically qualified to participate in the Cinemaiksi grand finals to be held at the upcoming 20th Philippine Advertising Congress. In Subic, the five teams will have two days to shoot and produce a 3-minute video using their supplied Nokia phones. Once done, their entries will be shown at the Nokia’s AdCon booth and on the monitors scattered around the venue. Winners, including a People’s Choice award, will be announced on November 24. Grand prize winners stand to receive Php50,000 and a trip to Hong Kong, plus reserved seats to watch the 2008 Independent Short Film and Video Awards. Beats texting all day, don’t you think? :-)
Adobo 0607 Ad Congress MAIN STORY
20th Philippine Ad Congress
SUBIC Veteran of The New Order
f the ad industry wants a place in the New Order, they couldn’t have chosen a more appropriate spot than Subic. Throughout history, Subic (and its neighbor Olongapo) seems to reinvent itself over and over again—sometimes, by sheer will power. Granted, it was rarely a matter of choice. But no one can say that Subic doesn’t roll with the punches, only to pick itself up and move on to the next New Order. To appreciate just how amazing Subic is, here’s a brief history lesson on the little port that could.
1885 The Spanish forces build the Arsenal en
Olongapo. Drafting tax-evasive locals into forced labor, the colonizers order them to dredge the harbor and to turn the tidal flats into seawalls and canals. The result is a manmade isla bonita, ground zero for Subic. 1898 The US Marines take over. Encountering resistance among the locals, the Marines drive villagers out of the “rebel-infested” Binictican and Boton and force them to
resettle in Olongapo. As they say, keep your friends close, and the Filipinos, even closer. 1917 The Filipinos learn to embrace this New Order and their GI Joes. They help turn Subic into US Navy’s most efficient shipyard in Asia, home to the titan Dewey Floating Drydock, built to overhaul the largest battle ships in the world. 1922 Japan protests the presence of the US naval stronghold. The American government agrees to dismantle the shipyard and ship out most of its personnel. It is practically a death-knell for Subic. 1930’s In yet another show of resilience, Subic discovers eco-tourism. Its people transform the naval station into a virtual tropical garden, with streets lined with coconut palms, hibiscus, and gardenias. 1941 World War II. The Americans and Filipinos throw a welcome barbecue for the Japanese forces and—oops!—burn Subic and Olongapo to the ground. 1946 After the war, Filipinos win the right to rule the New Order. Except in Subic and Olongapo where, like Britney, they only have visitation rights. 1950’s With the advent of the Korean War, the US Command builds Cubi Point, a feat comparable to the Panama Canal. A mountain is halved; swamplands, filled; coral reefs, blasted; trees as tall as 150-feet, transplanted, and three towns (including Olongapo) are relocated. It is the ultimate extreme home makeover. 1960’s The Vietnam War brings all sorts of things to Subic’s shore: warships, sailors, refugees, and an economic boom. The naval base becomes the US Armed Forces’ largest supermarket. Can you say “PX”? 1989 The Philippine Senate and Congress demand the closure of the US bases. And just for spite, then-Senators Nikki Coseteng and Joseph Estrada inflict their acting on everyone(complete
The Lions Are Coming! The country’s most wanted Gold Lions are Subic-bound . From the most successful and record-breaking year in the history of Cannes Lions International Advertising Festival, the Philippine Daily Inquirer proudly brings the Cannes Lions Winners Edition 2007 Exhibit and Viewing at the 20th Philippine Advertising Congress—a three-day showcase of the world’s crème de la crème of creativity representing today’s standard of artistic excellence and world-class advertising. Along with Inquirer president and CEO Sandy Prieto-Romualdez and officers of the Creative Guild of the Philippines, the formal opening of the exhibit will be attended by no less than Cannes Lions executive chairman Terry Savage. The Cannes Lions Winners Edition 2007 Exhibit and Viewing be held on Nov. 22-24 at the 2nd Floor of the Subic Bay Exhibition and Convention Center. Exhibit hours will be from 8:30 am—5:30 pm.
November 22, Thursday 10:00AM Ribbon Cutting 11:00AM 1st Screening 12:30-1:30PM
with an awkward screen lip-lock!) in the feature film “Sa Kuko ng Agila”. 1991 Mount Pinatubo erupts and covers Subic and the surrounding region in a volcanic ash. It feels like a dry run for the end of the world. 1992 The American resolve proves stronger than expected; they agree to leave but only on their own terms. President Aquino gives the US bases their walking papers. Subic and Olongapo, still mired in ash and lahar, are crushed. 1993 For the first time, Subic is on its own—and it rises to the challenge. Eight thousand volunteers restore order in the former military base. Earning a mandate from the government, these people transform Subic into a Freeport.
Fast forward to today. Since 1997, exports have averaged a billion dollars and have generated more than 60,000 jobs— twice the employment rate of its the US Navy days. Subic Bay has become a Freeport, an industrial zone, a convention center, a holiday destination and eco-tourism hub, all at once. Subic survives by always adapting to the New Order, but this time, it follows a grand order of its own design. In the world of marketing, no single relationship is the same as it was 20 years ago. Where are the lines of collaboration and competition drawn? As boundaries disappear and technology becomes given, he that rules The Idea rules a whole new world.
Lunch Break 2:00PM 2nd Screening 4:00PM 3rd Screening November 23, Friday 9:00AM 1st Screening 11:00AM 2nd Screening 12:30-1:30PM Lunch Break 2:00PM 3rd Screening 4:00PM 4th Screening November 24, Saturday 9:00AM Last Screening 12:00NN Closing
new order the
20th Philippine Advertising Congress
Subic Bay Exhibition & Convention Center Subic Bay Freeport Zone November 21 to 24, 2007 Register Now at www.20thadcongress-theneworder.com or call the Secretariat: Suite 3B, Dao I Condominium 189 Salcedo St., Legaspi Village, Makati City Tel Nos. 894-0838 / 894-3076 / 812-5622 Fax 812-3797 Email email@example.com
The Philippine Star Lunch Break / Raffle (sponsor)
Enough appetizer. Time to for the main course. Some of the top names in their respective fields will gladly share their years of accumulated wisdom with you in bitesized chunks. Whether you’re in creative, accounts, media, business management or a student delegate, you’d be surprised just how much information you can gleam from the speakers, so save the shopping and car auction bidding sprees for another time. Besides, Marlon wouldn’t like that.
Nov. 22, 2007 (PM) The New Order: Marketing & Media
Mr. Neil Gaiman
Imagination And Creativity In The Contemporary World Q & A with Mr. Gaiman
Susan Dimacali Introduction of / Patricia Go Guest Speaker Programs Co-Chair
PAC Chairperson Welcome
Speaker Topic Jollibee and partners TNS & 357 Breakfast Boracay (Sponsor)
The Dream King himself will start off the Thursday morning talks. In fact, the entire morning is reserved for him. Gaiman will tackle the topic of Imagination And Creativity In The Contemporary World which should provide the right amount of mental unfreezing that coffee alone can’t achieve.
Nov. 22, 2007 (AM) The New Order: Imagination & Creativity by Neil Gaiman
over 20 local and international speakers expected in the Subic Advertising Congress—the most ever—everyone should have no problem finding a topic or speaker that appeals to them. Here’s what to expect.
Q uite a heady mix, that much is true. With
Neil Gaiman and Friendster?! Here’s to the most eclectic AdCon yet.
Accelerating Emotional Engagement with the People of Asia 21st Century Engagement Understanding the New Order of Asian Communications Evolution of Print Publishing in an Increasingly Digital World Reactor
Mike Amour, Chairman & CEO Asia Pacific, Grey Group Mr. Tony Wright, Chairman Lowe Worldwide James Chadwick, Director of Insights & Strategy, Mindshare, Asia Pacific Helen Pemberton, Director for Media Index, A/P Nielsen Media Research Sandy Prieto Romualdez, President, PDI
2:30– 3:00 3:00– 3:40 3:40– 4:10
Chris Nelson, Managing Director Phillip Morris Marlon Rivera
5:30– 6:00 6:00– 6:20 Dinner
Not too pooped from partying? Great! Grab some delicious breakfast grub care of your thoughtful makers of Happee Toothpaste Then get in the conference hall, get comfy, and get your pencils out because you’ll definitely want to take notes as Michelle Kristula- Green, Graham
Nov. 23, 2007 (AM) The New Order: Creativity
7:00 Solar Entertainment onwards (Sponsor)
Translating the world’s No. 1 advertising belowthe-line
Chris Prox, CEO ICON Research
Adapting to the New Order Philippine Style
TV Commercial Loading, A PANA Study
Lisa GokongweiCheng, President Summit Media
4:40– 4:50 Reactor
Marketing to Asian Kids (New Generations for ’07)
Duncan Morris, Vice President, Research & Market Development Turner Entertainment Networks Asia, Inc.
Mining the Power of Consumer Archetypes to Build Successful Brands
Ms. Poonam Kumar, Regional Director, Segmentation & Positioning, TNS
Lunch break / Raffle
Manila Bulletin (sponsor)
Derek Callow, VP Google, Asia Pacific
The Future of Internet
Global Internet and Mobile Amanda King, President Trends; Tribal DDB, Asia Pacific Awardwinning campaigns
Terry Savage, Executive Chairman, Cannes Learn to win Lions
Digital is the new black. These days, with the Internet fast becoming a “ traditional” medium, you’ve got to have byte stuff if you want to remain relevant, lest you go by the way of beepers. Let Terry Savage and his peers show you the non-analog light.
Nov. 23, 2007 (PM) The New Order: Going Digital
Engaging Asian Consumers through the powers of Visuals
New & Integrated Media: Awardwinning Campaigns
Tay Guan Hin, Regional Executive Creative Director – SEA, JWT Singapore
Wayne Fletcher, President of Sandbox
Michelle Green, A/P President, Leo Burnett
9:10– 9:55 Graham Kelly, Executive Creative Director of TBWA Group Singapore & Chief Creative Intergrator, TBWA Asia Pacific
Lamoiyan Corporation (Sponsor)
6:00– 9:00 Merlee Jayme, Creative Guild Head
Kelly, Wayne Fletcher and Tay Guan Hin take turns dishing out real-world examples of creativity in action. Topic
Wrap up & Closing of AdCongress Business Program
Mobile Digital Film Making: Releasing its Creative Potential
GMA Network (sponsor) Dinner &
Yoly V. Ong, PAC Chairman
Fritz Kohle, Associate Director, Production & Post Production, NYU’s Tisch School of Arts, Singapore
Ben Colayco, COO, Level-up International.
Danilo Mojica, Head, Mobile SMART Wireless Division Advertising
Aaron Barnes, Global Marketing VP of Sales & Marketing, to an Online Friendster International Community
Araw Awards Night (Creative Awards)
9:00– 11:00 onwards 8:00 pm
Neil Gaiman Book Signing / Sports & Recreation (Amazing Race, Gold, Dodgeball, Badminton, Go-Kart Racing)
Topic Chowking (Sponsor)
One more day to go! Time to take it easy before the night ’s festivites. Gaiman will be signing books while the sports-minded among you will be signing up for the games. Time to kick back. Re-visit the exhibition booths. Grab some zzz’s and sober up. Oh, and there’s this little shindig called Araw Awards happening at 8PM. You may have heard of it…
Nov. 24, 2007 (AM) The New Order: Neil Gaiman, Up Close and Personal/ Sports/Awards Night
11:00 Smart Communications After Dinner onwards (sponsor) Party
20th Philippine Ad Congress TALK(ERS) OF THE TOWN With over 20 speakers coming to the AdCon, you’d be tempted to skip a few in lieu of a long coffee break. Don’t. Not only will you miss out on some amazing topics, but, based on their personalities, some of these speakers are a show by themselves. Here’s some which you wouldn’t want to miss out. FRITZ KOHLE An accomplished media producer and author, Kohle currently works at NYU’s Tisch School of Arts in Singapore. Prior to this, he was the head of post-productions for Bigfoot Entertainment in Mactan, Cebu. His recent projects include post-production management at Studio Babelsberg in Berlin for feature films such as Around the World in 80 Days with Jackie Chan, and various short films for cinema and TV. GR AHAM KELLY In 1986, Graham graduated with a BS Honours Degree in Chemistry from Edinburgh University. This proved a surprisingly good preparation for his first job in advertising; a copy writer for a Dutch businessto-business agency specialising in the chemicals industry. Realising that doing ads for consumers was a bit more fun that writing for chemical engineers, Graham joined a mainstream Dutch agency that did both advertising and direct marketing. The succeeding years saw Graham rise swiftly through the ranks. In 1991, he moved to Singapore and joined O&M Direct as a copy writer. Seven years later, he moved to Leo Burnett Singapore as creative director. The next few years saw him assume key roles in TBWA Singapore, Ogilv y Interactive, Saatchi & Saatchi Singapore, and BBH Japan. Currently with TBWA\Tequila as the agency ’s “creative integrator” and executive creative director, he made his mark at the agency by winning the Singapore Airlines business— arguably Asia’s most prestigious account win— after just four months in the job. He also acts as a creative resource for other TBWA /Tequila offices in Asia. Graham’s print and T V work has been awarded at Asia-Pacific AdFest, Media Awards, The One Show, Clio, Cannes, D&AD and Communication Arts. He has won a cross-section of all the major DM awards: Caples, Echos and the Asian Direct Marketing awards (where he has won Best of Show twice). His interactive work has been awarded at shows such as the One Show Interactive, Cannes Cyberlions, Clio Interactive and Communication Arts. As such, he is the one of the few creatives to have achieved international recognition across all media. MARLON RIVER A At present, Marlon Rivera is the president and chief creative officer of Publicis Manila. He joined Basic/FCB in 1987, right after college, as a copy writer and commercials producer. He also served as the agency ’s organizational development director and trainor of the now-defunct AdSchool. Away from the office, Marlon wears the hat of a senior lecturer for the Visual Communication Department at the University of the Philippines College of Fine Arts where he teaches visual verbal communication. He also dabbles as a make-up artist for theater, commercials, editorials, and fashion shows. Unsurprisingly, Marlon used to teach theater make-up for the Ateneo de Manila’s Theater Arts Program. Marlon loves to travel, read, comb the flea markets, indulge in Bmovies, decorate interiors, and style photo shoots during his spare time. But he doesn’t have spare time, so he must have an alternate life. Or a twin. MICHELLE KRISTUL A-GREEN One of the network’s proven leaders who has lived and worked on four continents, Michelle Kristula-Green is president of Leo Burnett’s Asia Pacific region, managing the Leo Burnett and Arc Worldwide’s 18 offices, comprised of almost 2,000 employees in 14 countries. (Wow!) Before assuming the post in February 2004, Michelle was the first woman to run a multinational agency in Japan, serving as president and representative director of Beacon Communications, the highly successful partnership with Dentsu, resulting from the merger of Leo Burnett and D’Arcy ’s operations in Japan. She also played a key role in the integration of these Publicis Groupe sister companies into one cohesive agency. In a recent study by the Wall Street Journal about the top women they believe to have the potential to make significant impact on business in 2007, Michelle was included in the list of The 50 Women to Watch in 2006, referring to her as the “most powerful woman in Asian advertising.”
The AdCon isn’t all talk. Sure, you’ve got great speakers galore, but after three days of non-stop advertising discussion and endless chit chat (a.k.a. networking), you’ll want something, anything, to break the cycle. Ask and ye shall receive, for the AdCon Committee has, in all its wisdom, retained and even expanded the Sports & Recreation activities. Now’s your chance to show off those gymbuilt pecs and abs, to bond with your team, to close a deal, or simply sweat away all those iced café mochas you’ve been enjoying for months now. Registration’s free, but slots are limited, so best to sign up now.
GOLF A traditional event in all ad congresses and participated in by the leaders of the advertising community. There are two planned: the first on Wednesday morning, and the second tour-
or 120 participants) Awards/Prizes: Team Champion, 1st, 2 nd , and 3 rd Runners Up
THE AMAZING R ACE This popular race has ten pit stops. Clues are given so that participants can find each designated stop. A task is must be completed before team members receives a clue to reach the next stop. The first team to arrive at the final stop wins the race. Expect some kayaking, wakeboarding, wall climbing, as well as tasks that require creativity and common sense. Casual wear is highly recommended. Participants have to be reasonably healthy and must be prepared to get wet. Venue: Various points in the Subic Freeport Max players: 25 teams, fiveplayers each
Let The Games
nament, on Saturday. While the tournaments will have individual set of winners, those who play on both dates are eligible for aggregate overall trophies.
Venue: Subic Golf Course Max players: 144 per tournament Awards/Prizes: Individual Overall, Class Champions, 1st & 2 nd Runners Up, Ladies Division
K ART R ACING An exhilarating experience that everyone should try at least once in their lives. The race is in relay format, team event, with five members to a team. Each member drives the kart around a track designed so that even first-time drivers can participate. First team to complete the course wins. This race will be run by professional racing organizers. Ten go-karts will be provided with necessary safety gear such as helmets and gloves. All relevant safety measures shall be undertaken to ensure a worry-free, fun time. Don’t forget to bring a valid drivers license. Venue: Slalom Track at the Subic Airport Max players: 20 teams, five players each No. of Participants: Maximum of 20 Teams (5 players/team,
BADMINTON This will be an all-doubles tournament: men’s, ladies and mixed doubles. The registered pairs will fall into one of two age brackets, depending on the combined age of the pair: combined age of 75 and below, and over 75:
Max players: 102, 51 pairs Venue: Subic Sports Gym No. of Participants: 102 participants (51 pairs) Awards/Prizes: Champion, 1st & 2 nd Runners Up each for the three (3) Doubles Age Bracket
DODGEBALL A fun event that ’s played on sand, with as many as 10 to 12 players to a team. The game’s simple; two opposing teams throw balls at each other in a designated area of play. Players who are hit are eliminated. Team with the last man (or woman) standing is declared the winner. Bring beachwear, lots of sunscreen and your favorite analgesic—you’re going to need it. Venue: Subic Boardwalk Max players: 20 teams, 12 players each team No. of Participants: Maximum of 20 teams (12 player/team), or 240 participants Awards/Prizes: Team Champion, 1st, 2 nd , and 3 rd Runners Up
2nd SAC winners, with organizers, guest speakers and sponsors
2ND STUDENT AD CONGRESS
Combat Ready for the Advertising Wars With the mission of training students to be combat ready for the advertising wars, the 2nd Student Ad Congress went into DefCon 1 last September 27 to 28 at the AFP Theater in Quezon City. Ad majors from all over Metro Manila and as far as Dasmariñas, Cavite trooped to Camp Aguinaldo to wage war in the Creative Competition. Industry veterans gave talks on improving their gameplan. Radio veteran Rey Langit wowed the crowd with his vocal versatility. Jimmy Santiago of TBWA\SMP shared his agency’s principle of disruption in creating ads. With an impressive collection of pointers from ad legends like David Ogilvy, Neil French and David
Droga , Cid Reyes of Ace Saatchi & Saatchi discussed how to employ “The Art of War.” adobo’s Cynthia Dayco stressed the importance of global-sized ideas in the changing landscape of advertising while director Sockie Fernandez gave tips on how to land your dream profession. Philippine Daily Inquirer’s Mon Lizardo ended the first day by showing the different facets of online advertising. In the open forum Saan ang Asset Mo sa Advertising? (Where Are Your Assets in Advertising), attendees had the chance to ask representatives from various industry sectors anything and everything advertising. The session included Aries Estrella, copywriter and ad professor; Dinky Villanueva, former AdBoard, AFAA and PANA president; Robert Labayen, VP for Creative Services at ABS-CBN; and Poch Bermudez, president of Hinge Inquirer. The forum was facilitated
2ND STUDENT ADVERTISING CONGRESS CREATIVE COMPETITION WINNERS Print Categor y: Globe’s Gold Award and Adobo’s Best Creative Team Team Adonis Colegio de San Juan de Letran Radio Categor y: Globe’s Gold Award and Adobo’s Best Creative Team Team One Touch Advertising Lyceum of the Philippines University T V Categor y: Globe’s Gold Award and Adobo’s Best Creative Team Team Espresso Lyceum of the Philippines University Special Awards For Print: Globe’s Gold Award for Single Medium Print Categor y and Adobo’s Best Creative Team for Print Categor y Team Adonis Colegio de San Juan de Letran Silver Award Team Espresso Lyceum of the Philippines University
by Twink Macaraig of the ANC network. The two-day affair ended with two schools getting the top awards. The creative brief for Globe’s Kada-segundo service was best presented by Colegio de San Juan de Letran and Lyceum of the Philippines University, getting the judges’ approval for the best print, radio and TV ads.
Bronze Award Team Kwatro University of Santo Tomas Best Copy Team Nakpil Philippine Women’s University Best Art Direction Team Espresso Lyceum of the Philippines University
newsline If It’s Too Loud, You’re Too Old To Go
IT’S THE ROCK AWARDS! “Remember when Parokya ni Edgar performed in marching band costumes,” recalls Atom Henares, president of top rock music station NU 107. “And then later took them off to reveal drawings of their d—cks on their chest.” True story, and just one of the many memorable moments in the history of the NU 107 Rock Awards, the biggest and most anticipated music awards night in the country today. Come November 30 at the World Trade Center, the station will celebrate for the 14th annual time this year’s rock heroes,
as determined by a poll of its fanatical community of listeners, the station’s roster of jocks and a panel of judges. It will also mark NU 107’s 20th year of setting the pace, shaping music tastes, as well as discovering and developing new local talent. Eighteen categories, including the coveted Album of the Year, Artist of the Year, Song of the Year and Best New Artist plums have been announced. Who will make history? Tune in, then show up to find out.
SHEILA FRANCISCO STARS IN SOUTH PACIFIC MUSICAL IN LONDON Former TV producer Sheila Francisco, who left the industry some years back, has been getting rave reviews for her performance as Bloody Mary in the current tour of South Pacific in England. Francisco was handpicked by the producer for the revival of the hit musical at the Royal National Theater.
AGORA AWARDS TO SPOTLIGHT MARKETING GREATS ON NOVEMBER 29 More marketing legends are ascending the elite roster of Agora Greats as Philippine Marketing Association (PMA), the country’s premier marketing organization, pushes the call for nominations for the 28th Agora Awards, slated on November 29. A non-profit award-giving body, Agora Awards is the oldest existing industry awards for marketing greatness. Established in 1979 as PMA’s flagship project, it honors marketing professionals whose flair and expertise in the field deserve recognition. Honoring the cream of the crop’s solid achievements in highly competitive business categories, the Agora is the much coveted and prestigious marketing award in the country.
PANA TO HOST IMC STUDENTS’ COMPETITION
Truth in Advertising? Nothing wrong with dressing up, when the occasion calls for it. But when Mr. New Boss from abroad saw the famously flamboyant Cool Creative on his/ her way to a very important client meeting—a pitch at that, according to those in the know—and wearing just a casual shirt and jeans, Mr. New Boss blew his top. You can already imagine the epic conversation. NB: You’re wearing that? CC: Yes. NB: Wrong answer. And before anyone could say Bibbity-bobityboo, Mr. New Boss dragged
his/her credit card. Seconds poor Cool Creative to a later and thousands of pesos high-end mall and immepoorer, Cool Creative was diately proceeded to pick the not-so-happy owner of a out an expensive assortbrand new wardrobe. ment of business wardrobe Some good did come out basics from the racks. Cool from the impromptu shopCreative who had to stand ping spree. Their agency won alongside Mr. New Boss, the pitch. naturally felt embarrassed The moral is sometimes, at this personal disregard of clothes do make the man/ his/her fashion sensibilities. woman. And sometimes, So at the cashier, when Mr. The Man thinks what you’re New Boss was about to settle wearing is crap and makes the not-so-cheap bill, Cool you buy better clothes. Creative, in a final attempt to salvage whatever remaining dignity he/she had left, took a stand and told Mr. New Heard any good tsismis lately? Boss that he/she can afford Want to start one? Send it to: it, thank you, and whips out firstname.lastname@example.org Is this the latest? Please double check
The Philippine Association of National Advertisers, in cooperation with the Philippine Daily Inquirer, will present the 8th Integrated Marketing Communications Students’ Competition with the theme “Pinoy Franchising for the Global Pinoy” on November 17, 2007 at the SM Mall of Asia. Marketing students will present their campaigns to boost awareness for the Association of Filipino Franchisers and to promote franchising amongst OFWs (Overseas Filipino Workers).
ADOBO MAGAZINE NOW AVAILABLE IN BASHEER BOOKSTORES IN ASIA! If you are part of the Asian advertising scene, you know where the Basheer Bookstores are. (Their most established branch is in the Bras Basah Complex in Singapore.) Basheer Bookstores is run by Addul Nasser, whose father started the business selling ad books on his bicycle many years ago, has expended to key Asian markets. Basheer has branches at BB Plaza in Jalan Bukit Bintang in Kuala Lumpur, Lantain Plaza in Jakarta, Island Building on Hennessy Road in Hong Kong and Soi Sukumvit 55 in Bangkok. And the good news is Philippines-based adobo magazine is now on sale for all of Asia to read! november-december 07
A new production house sets its sights for the big time
A visionary. A savvy marketing man. And a photographer for the ages. Certainly not your typical production posse. But Revolver doesn’t aim to be your typical company. It all began when top commercial director A/F Benaza pitched the idea of establishing a new production house to Don Monteverde, the marketing director of post-production outfit Larger Than Life. “A/F told me he wanted a creative company,” recalls Monteverde. “I liked what I heard, so I was in.” And before anyone could say Sergio Leone, Revolver Productions was born. Benaza and Monteverde have high hopes for their new venture. Unlike more established produc-
tion houses, Revolver aims to provide various forms of visual content—TVCs, films, music videos, web media…you name it. Considering also the collaborative synergy offered by Larger Than Life’s creative pool of editors, colorists and CG artists, this new undertaking certainly won’t be lacking in the resources department. Speaking of resources, the two co-managing partners also scored an unexpected bulls-eye by acquiring the services of acclaimed shooter Jun de Leon to join their gang. Known for his striking photography, the low-key de Leon may prove to be the secret ace up Revolver’s sleeve. “I saw Jun’s ‘Waves of Echo’ exhibit,” mentions Benaza, “and I was impressed by his attention to
detail and the different perspectives he captured in the underwater images. The guy really knew his stuff.” De Leon jumped at the chance to join, and, as simple as that, Revolver became a gang of three.
“Revolver is synonymous with the act of shooting...Revolvers are also legendary for their reliability and simplicity. They won’t fail. Which is the kind of reputation we aim to build.” Currently, the trio is busy wrapping up their house reels, with intentions to distribute it online. A formal launch within the next few weeks is also in the works, to be
held at Revolver’s yet undisclosed headquarters-cum-studio. Oh, yes, about their name. Revolver does seem a bit unusual for a moniker, true. So what’s the real story behind the six-shot soubriquet? Benaza answers, “Revolver is synonymous with the act of shooting, which is our primary function as a production outfit. Revolvers are also legendary for their reliability and simplicity. They won’t fail. Which is the kind of reputation we aim to build. In a less literal interpretation, Revolver also connotes a sense of perpetual motion and evolution—an essential characteristic for success in our line of work.” Spoken like someone gunning for the top.
Yes, Argentina Fiesta Sausages are longer than average. That much is apparent. But, c’mon now, would a better idea been too much to ask? At the very least, a more creative visualization? The splitpanel execution is nothing new, plus the talent’s pose suggests a too-healthy appetite for the long, pink stuff. Who’s the target market anyway? Horny teenagers? In short, while the sausage may taste good, dear reader, the ad definitely lacks good taste.
TWO-SIDED CONVERSATIONS Dual Speakers Enliven ASAP Conference
It was a lively hesaid/she-said affair at the Advertising Suppliers Association of the Philippines (ASAP) 2007 Conference last August 16 at the Hotel Intercontinental where more than a hundred delegates from businesses, the academe and advertising agencies attended,. In keeping with their “Building Brands” theme, ASAP speakers wore hardhats and construction gear while presenting various marketing theories and success stories. For a change of pace, organizers creatively adopted a dual-lecturer approach to present at least two sides of a particular topic. Jollibee Foods Corporation VP for Marketing Inez Reyes highlighted the company’s numerous global branches, while De La Salle University Professor and PANA Director Dr. Karen de Asis gave alternative views in “Building Brands that last for Generations” segment. For “Building brands via TVC,” J.G. Summit Holdings, Inc. Director for Communications Pat C. Go and DM9 JaymeSyfu President Merlee Jayme presented complementary case studies. Go’s account of popular Jack ‘n Jill snack Chippy’s transformation into “the barkada (friends’) snack” through the eyes of
wanna-be band Tear Here was youthful and quirky, while Jayme’s recounting the Philippine Long Distance Telecommunication Company’s love story starring TVC personalities Billy and Gracia brought smiles to many a delegates’ face. Francis For a change of Abraham, pace, organizers president of creatively adopted Paradigm a dual-lecturer Visions approach to present Photography, at least two sides of and Aurora a particular topic. MangubatSuarez, publisher for Print-Summit Publishing, were next in “Building Brands Using Advertising Photography.” Abraham, whose work frequently graces Manila’s billboards, opined that branding requires the use of the right images to create identity. On other hand, MangubatSuzarez’s alternative viewpoints proved to be an eye-opener. Later on, TBWA\Santiago Mangada Puno Managing Partner Jimmy Santiago and Ad Farm President and Managing Director Gerry C. Magnaye tranformed the ballroom into an impromptu concert hall, as both brought their own bands to perform songs in their “Building Brands through Musical Jingles.” segment. Some speakers went solo. However, their message remained undiminished. Case in point was Art Policarpio, the president and COO of Global Wireless, who discussed “Building Brands through Mobile Marketing.” Given the Filipino’s love affair with their mobile phones, his was one of the popular talks of the day. Of note also was “Building Brands and Events Marketing” where Golden ABC Marketing and Visual Merchandising Head Gigi Tibi presented lifestyle clothing brand Penshoppe’s lateral marketing efforts which helped define the brand’s youth-oriented image. In life. it’s always great to have choices. And ASAP, at for this conference, chose the conference path less travelled. Fortunately, they chose well.
Arthur M. Young, Jr., chairman of the board of Ace Saatchi & Saatchi has announced the retirement of agency president and chief executive officer, Rey Icasas, at the end of October 2007. “Icasas brings to a close 14 years of service to Ace Saatchi & Saatchi. During his term, the agency reached the highest revenue and profitability in its history.” Previously, Icasas was marketing director for Armour-Dial Phils, CFC Corporation, and then Avon Products Manufacturing, Inc. Icasas was once president of the Philippine Association of National Advertisers (PANA) and past chairman of the Trade Practices and Conduct Committee of the Advertising Board of the Philippines. David Scott Cases Nugent has recently been appointed as new business director of Ace Saatchi & Saatchi. Nugent was previously vice president for Media and Corporate Communications for Metro Pacific Corporation, a subsidiary of Hong Kong-based First Pacific Company Limited. With extensive regional experience through assignments in Indonesia, Hong Kong and the Asian region, Nugent led investor relations, media and corporate communications. He has successfully developed specialized communication strategies to deal with unique stakeholder audiences. As new business director, Nugent is in charge of maximizing the full growth potential of the agency business through the acquisition of new and desired clients. Manny Martinez, business unit director at McCann Erickson Philippines and before that, client service director at Harrison Communications has moved to the network’s Singapore operations, McCann HealthCare Singapore, as senior account director. Confident of accomplishments from experiences of the past at the Philippine agencies, Martinez said. “Understanding cultural idiosyncrasies never became so critical and important, specially being a minority in the office, not just for assimilation but for mere survival. Going local for global never meant so real.” BatesAsia’s Robert Gaxiola, has moved to Batey Singapore, as ECD. This comes after Ng Tian It decided to move to Lowe Greater China in Shanghai. Ng left Batey after just eight months at the agency in the wake of the loss of the Singapore Airlines business. Glaxiola’s move come as no surprise after Nokia ended their 14-year relationship with the network. At Bates, Gaxiola led global work on Heineken and Nokia and secured awards for the office such as Clios, Spikes and Cannes Lions. “Rob’s commitment and passion has helped to strengthen and build the creative profile of our Singapore agency, and we wish him all the best going forward,” said Peter Skalberg, chief executive officer at Singapore november-december 07
movers One of Asia’s illustrious creative talents, Sonal Dabral, ECD at O&M Singapore departed the agency to join BatesAsia, also part of the WPP group of agencies. BatesAsia recently formed IDEAS hub, an integrated media-neutral team with regional ECD Sonal Dabral, Regional Digital CD John Lambie, 141 ECD Steve Llewellyn and Singapore CD Raymond Quah. After abruptly leaving his apartment in Malaysia and handing over the keys to the receptionist at DDB International Malaysia, Roger Pe has surfaced as head creative at Golden Advertising and Communications Group in Ho Chi Minh City, Vietnam. Ng Tian It, McCann is Singapore has left his eight month stint at Batey. He moves out of Singapore to head off Lowe Worldwide in Shanghai as executive creative director of China. While at Batey, Ng was responsible for a slew of new business wins—Qatar Airways, Audi, Domicil and Mitsubishi Motors have set the agency on the road to recovery after losing the Singapore Airline. “I’m also very gratified to witness Batey’s swift return to the creative awards’ scene with a Cannes TV Finalist, an acceptance in The Work and a Silver in the Singapore Outdoor Advertising Awards despite the agency’s most difficult times” said Ng.
YOU’LL LIKE WHAT YOU HEAR, HERE
The country’s first company specializing in radio opens up “You had the time. You had the power. You’ve yet to have your finest hour, Radio...” So sang Queen in their unforgettable 80’s ode to the classic AM/FM apparatus. Yet, in the Age of the iPod, who still listens to the radio? Well if Hear! Hear! has its way, everyone would. Formally launched last month in Makati City, Hear! Hear! was formed by multiawarded McCann Erickson creative veterans who wanted a company that focuses on creating advertising specifically for audio and radio content—from concept to final release material. Why radio? “Because it’s a squandered medium,” declares
Managing Partner Kathleen Mojica. “It’s underutilized. We intend to breathe new life into it. We love radio! We enjoy every aspect of it: the conceptualizing, the writing, the recording, the voicing, the scoring.” Admiration for the airwaves notwithstanding, Hear! Hear! also offers services that go beyond the standard 30-seconder. As envisioned by the other partners, namely Baby Enriquez, Jack Sotto, Benn Almazar, and Jayo Santiago, the company would also like to be identified as a resource for radio and audio content, including music, jingles, radio programs, radio shows, and more. In fact, even job orders for the occasional corporate
Last October 30, 2007, Nielsen Philippines started holding office in its new location, 31 EDSA, Prudential Life Building, Mandaluyong City across Robinson’s Pioneer. The new Nielsen office houses both Nielsen Media Research and ACNielsen Philippines. With its new office location between the Ortigas and Makati Business Districts, Nielsen Philippines aims to serve its clients better and continually keep improving the delivery of its services. Their new trunkline is (632) 706 8100. BBDO Singapore, in their effort to beef up their creative talent, announced the appointments of Mark Bamfield as Creative Director/Head of Art and Ivan Hady Wibowo as Associate Creative Director. Campaign Brief Asia ranks Mark among the top creatives in Singapore. Ivan has won at every major advertising awards, including Cannes, D&AD, and Best of Show at Singapore’s own Creative Circle Awards. Both will report to BBDO Singapore ECD Jagdish Ramakrishnan.
video are more than welcome. Makes sense, after all, considering that audio plays a key role in the final equation. With regards to Hear! Hear!’s technical know-how, studio partner Merk Media has more than adequate facilities for audio recording, and video post-production. Calypso, a creative services and printing company, is another partner which provides support for their art-based creative requirements. So how’s business been for such a landmark company? “Since our launch, we haven’t had a moment’s rest, “exclaims Mojica, “what with briefings and brainstorms and writing and recording. We’ve been busy and we love it!” Freddie Mercury would’ve been tickled pink to hear that. The participants also witnessed performances from FEU students, ABS-CBN’s Center for Communication Arts, Inc., and raved over Star Record’s Chris Cayzer and Kokey. With the success of its Metro Manila and Luzon leg, the organizers of Pinoy Media Congress are getting ready for the Visayas-and-Mindanao leg, in November at Siliman University in Dumaguete.
ABS-CBN and PACE Stage Year 3 of Pinoy Media Congress Communication students, educators and practitioners of Mass Media experienced two days of camaraderie and learning at the recently concluded Manila-and-Luzon leg of the Pinoy Media Congress, held last October at the host school Far Eastern University. ABS-CBN Corporate Communications Division and the Philippine Association of Communication Educators (PACE) spearheaded the event, together with Studio 23.
ABS-CBN Chairman, President and CEO Eugenio Lopez III, FEU President Dr. Lydia B. Echauz and Manila Mayor Alfredo Lim opened the event. Now on its third year, the Pinoy Media Congress is a venue for interaction between media experts, teachers and students of broadcast communications. Top practitioners discussed issues in the field of news, entertainment, advertising, media regulations and media ethics among others.
newbiz/pitches BLUE BOTTLE ON THE NEW BIZ ROLL
For the local ad agency Blue Bottle, new business gains for this season are Pocari Sweat, Consumer Care Products, Inc., Sky Cable (for below-the-line campaigns) and Bench. Pocari Sweat, is a leading health drink from Japan courtesy of Otsuka Pharmaceuticals. Agency Head Mio Chongson said, “This is their first venture into consumer goods. We’ve done launch print, cinema and a billboard campaign.” The account was acquired through a credentials pitch, as was Consumer Care Products, Inc.
UNIVERSAL MCCANN LEADS ASEAN PITCH FOR J&J Universal McCann (UM) President Venus Navalta said, “The last big pitch we had was the J&J global pitch where we, the Philippine office, presented for ASEAN against a regional team from Carat and OMD.” Navalta said that 2007 is a good year for UM, but the growth has been mostly organic.
Some like lucky seven, while others go for eight, because the Chinese love it so. Others prefer nine, considered the complete number. But there is no competition with the number one. Or should that be, in any competition, there is nothing but number one? Last September 11, 2007, both the Philippine Daily
PAL vs. CEBU PACIFIC
A Dogfight in the Unfriendly Skies
SAATCHI LAND SM ACCOUNT IN MULTI-AGENCY PITCH Ace Saatchi & Saatchi scored the SM Retail, the SM High Rise, and is the agency-onrecord for media. According to sources, this was a multi-agency pitch where over ten agencies were competing. This was one time when the proposed 4As pitch fee policy would have been useful.
JWT WINS KNORR GLOBAL BUSINESS
According to reports, WPP Group’s JWT landed a global branding assignment for Unilever’s Knorr brand. JWT handles Knorr in most regions of the world, except for North America, Australia and Africa where DDB is the lead creative agency.
WIEDEN & KENNDY HANDED P&G’S OLD SPICE AND ESCADA According to AdAge, Procter & Gamble Co. has expanded its relationship with Wieden & Kennedy, handing the independent shop the interactive assignment for its global Old Spice account as well as new global assignments for its Escada fragrance and Graham Webb professional hair care business.
DM9 JAYMESYFU GETS MAX’S CHOICE CUTS Max’s Chicken appointed DM9JaymeSyfu as their advertising agency effective December 2007. “Having worked with most members of the agency in the past, Jim Fuentabella, Max’s president, decided to give the fledging agency a shot at handling the business,” said Eugene Demata, ECD at DM9JaymeSyfu.
LEO BURNETT BAGS BUSCOPAN
Leo Burnett’s head, Raymond Arrastia reported that the agency won Boehringer Ingelheim’s brand, Buscopan, pitched against BBDO Guerrero Ortega and Euro-RSCG.
ads claimed leadership in the airline industry, but their advertising may be in defiance of the law of physics since no two bodies can occupy the same space at the same time. In Section 6 of the AdBoard’s Revised Code of Ethics (which took effect on October 1, 2007) tackles the matter of “Number 1 or Leadership
Inquirer and the Philippine Star published half-page ads for Cebu Pacific and Philippine Airlines respectively. Both
Claim.” In a nutshell, leadership claims are only allowed of any clearly delineated and qualified product and/or service if it is credibly substantiated and objectively verifiable by an AdBoard-approved independent source. A twelvemonth precedent period is required. If the claim has no qualifier, AdBoard takes it to be sales claim. For areaspecific claims, the area must be prominently specified. In the case of a No. 1 sales claim, confirmation must be in “physical units sold and in the resulting peso volume on a cumulative basis.” With the claim “It’s plane and simple. Cebu Pacific is the No. 1 domestic airlines,” the carrier cites Civil Aeronautics Board (CAB) data on market share and number of passengers flown on domestic flights
for the period July 2006 to June 2007. The Cebu Pacific ad seems to adhere to the Revised Code requirements. The Philippine Airlines ad reads “Clearly No. 1” and “the Country’s No. 1 Airline”. Claims include “Widest Network, Largest Fleet, Most passengers Flown and Highest Sales Revenue.” Although the September 11th ad features rates for international destinations, the same newspaper featured a completely different Philippine Airlines ad with the same claims, but sans destinations just a day earlier. On both days and for the two versions, nothing on the copy pertains to substantiating and qualifying databases deemed necessary per the Revised Code. Regardless of Number 1 and leadership claims, advertising only provides information. Definitely, reliable data is vital—truth in advertising, so to speak. Whether or not the consumer makes an effort to research facts and figures, however, is beyond advertising. In the end, the consumer still makes the final choice. And that is always dictated by economics.
vanguards of the total consumer population.” While Mapa talked about the advent of “prosumerism,” the rest of the panelists discussed trends, case studies, techniques and tactics that effectively covered all kinds of marketing topics: digital marketing (blogs, RSS, podcasts), CRM, mobile marketing (SMS and MMS-driven campaigns), search engine optimization, database marketing web analytics, the OFW market (the so-called “rich in niche”), and brand convergence. THE 4TH DMA PHILIPPINES ANNUAL CONFERENCE The resounding key message was that the marketing game is undergoing a transformation and it is up to practitioners to adapt crosoft” court scenarios—highto newer and more sophisticated demands. lighted the presentation given by Included in the line–up of presenters were Euro RSCG Manila’s Eduardo Leah Besa-Jimenez of Proximity Philippines, Mapa, whose two words, “chalArthur Policarpio of Global Wireless Conneclenge everything,” became the tions, Donald Patrick Lim of yehey.com, Profesmind-setter for the conference. sor Jose Miranda of AIM, Dr. Karen de Asis of “Technology is dramatically changing the DLSU, Jimmy Gimenez of Gimenez Group, Inc. landscape around us, and there occurs revoluand Lirio Sandoval of A-Z Direct Marketing, tions in thinking, lifestyle, entertainment and Inc. DMA Philippines President Fidel Yuboco convenience,” he said, citing that the three noted, “We hope this event provides you with a unstoppable forces in these revolutions are platform to synergize innovative ideas and cremedia proliferation, personal globalization, and ativity, both of which will enable you to reach the Internet. “Now, born out of that is a new, your customers more effectively.” progressive, and proactive breed of consumers, The fourth Direct Marketing Association (DMA) Philippines Annual Conference and Expo held recently at the Hotel Intercontinental, entitled “Transformers of the Game”, audiences were promised a glimpse of the future. And they were given just that. A preview of the direct and digital marketing world from when the World Wide Web was invented all the way to the year 2014—complete with new iPod technologies and “Google vs. Mi-
Transforming the Game
FEMAR 25 Years Strong, Twice As Good Top Print Prod House Scores Big Win
It’s always better the second time around. Just ask Femar Integrated, which was recently named Print Production House of the Year by the 4A’s in the recent Agency of the Year award ceremonies. Making the prize even more memorable is that it has come at a most propitious time: Femar’s 25th anniversary. Talk about the proverbial icing on the cake. “We are neither hardware nor software,” succinctly states Femar President and CEO Danny Rodriguez with regards to his company’s philosophy. “We are game changers.” That thinking has propelled Femar to the top of a very competitive playing field. Given the fast-changing nature of today’s technology, the award-winning group has managed to metamorphose into a comprehensive print production house whose expertise encompasses everything from digital imaging to printing. In 1996, Femar forged a strategic alliance with McCann Erickson and Harrison Communications. This partnership allowed them to tailor-fit their resources to better service the needs of both advertising agencies— an arrangement later replicated via Femar’s Globedez Phils. Inc. which services JWT Manila. Earlier this year, Femar Integrated launched CrossXmedia, another proponent of their unified approach to print production. A one-stop shop, with photography, multimedia, web design and hosting, CrossXmedia allows real-time online collaboration. Even other ad agencies can tap into the company’s complete resources. Naturally, confidentiality is always upheld. Now, a decade later, Femar’s comprehensive approach has won them acclaim once again. And the game has definitely changed to their favor.
OOH’S AND AAH’S FOR OOH! Asia’s Best Outdoor Goes Indoor at Suntec
Last October, the Suntec Singapore International Exhibition and Convention Centre hosted the debut of Asian Outdoor Advertising 2007; a comprehensive event focusing exclusively on the growing importance of today’s Out-OfHome (OOH) efforts in the region. Featuring the theme “Change The Landscape,” AOA 2007 attracted a diverse group of professionals from outdoor advertising industry,
ranging from marketers and media specialists to agency creative and suppliers. “AOA arose as a result of the rising importance of outdoor advertising,” noted Thomas Ang,
AOA 2007 organizer and the general manager of FUSE, an Omnicom Media Group company. “Sociological trends highlight that we live in an increasingly mobile society and media expenditure trends have been reflective of that. Meanwhile, advances in technologies related to the outdoor medium have given rise to new opportunities for interaction and engagement. We feel that AOA would be the ideal platform for everyone involved in outdoor advertising to come together and share their expertise in the medium.” Originally, the organizers expected that bulk of the attendees would come from Singapore, Malaysia and China. By opening day, 250 delegates from Asia, Europe, Australia and even as far away as Nigeria had registered, followed by more in the succeeding days. Surprisingly, the Philippines sent a strong delegation of 12, as well as a number of visitors who flew in just for the exhibition and awards. Spotted in Suntec were representatives from SMART Telecoms, Chow King, Universal McCann, PhD, Carranz Billboards and of course, the Outdoor Association of the Philippines (OAAP). The Indonesian interest in
OOH was quite evident, expecially when a TV news crew followed the delegates wherever they went. France and India were also represented, as well as Nigeria. All over the world, these OOH practitioners were drawn by the event’s three major attractions: the exhibition, the speakers and the inaugural AOA Awards.
The AOA Exhibition: LIGHTS, CAMERA, BLUE TOOTH? Several companies consisting of sponsors, outdoor media owners, image libraries, vinyl, lighting and printing suppliers, content and technology providers, and signage and moulding specialists took to the vast Suntec exhibit floor and vied for every AOA attendees’ attention. Ting Navarro of Universal McCann said that while OOH providers were already bringing in traffic stoppers such as the holographic billboards, interactive projectors and the mobile party bus (shades of the Maxim’s Bong Bus), most of the technology on the floor were much more sophisticated. Among the exhibits that are sure to cause whiplash on Asian streets is the Stage Pod which projects a delightfully realistic moving 3D images—even at close range. Another is the large-scale LCD curtain, which may hail the return of “neon” graphic design to billboards and skyscrapers. Just as engaging are the LCD video slot machines that offer discounts and freebies to shoppers in exchange for watching ads of a mall’s retailers. With all the dazzling video and audio displays, some of the more discreet high-tech exhibits found themselves being ignored. Offers for free Ben & Jerry ice cream, which were made via Bluetooth mobile technology, went
largely unheeded by attendees. The Philippines had two exhibitors on Suntec’s floor: the OAAP and adobo magazine, the official AOA media partner. Both their booths conveniently faced each other, so the area became the unofficial rendezvous point for the 12-person Philippine contingent. The spot proved not so convenient for our colleagues at Adoi magazine, the Malaysiabased ad mag. Adjacent to homey OOAP and the snazzy adobo exhibits, their booth found itself in the Pinoy “chiz” crossfire. The AOA Conference: A LITTLE BIT FIRST-WORLD. A LITTLE BIT THIRDWORLD Crafted to engage top level marketers and advertisers, Thomas Ang’s FUSE put together seminars that were conducted by noted professionals from the various fields of advertising and other outdoor media specializations. The guest speakers, including the Philippines’ own David Guerrero, ECD of BBDO Guerrero Ortega and Blenn Fernando, marketing director of Alaska milk and head of the PANA Foundation, were quite diverse in their choice of topics. Everything from mobile TV advertising to street marketing was tackled. Even OOH spending.
“Advertisers now look at out-of-home as a single channel in a fragmented environment,” stated Jimmy Goh, regional managing director of the Omnicon Media Group during his talk on the Ten Commandments of Outdoor. “Globally, the ad spend for outdoor is 3 percent. In Asia-Pacific, it’s 8 percent. A lot, lot higher than in the U.S. or Europe.” Guerrero took the road less travelled. He wittily discussed the history of the world as defined by ten and a half billboards – from King Hammurabi’s public posting of Babylon’s laws in 2067B.C. to Ogilvy & Mather Philippines’ current output for Pond’s Facial Wash Cleaner. For the curious, the “half” he referred to was BBDO’s own work for Bayan Telecommunications. (An abridged version of Guerrero’s presentation can be found on page _____.) Alaska’s Fernando presented case studies on the milk company’s investment in music and event roadshows. While the technology was noticeable low-tech compared to the other sessions—its mobile efforts utilized jeepneys not bullet trains; its interactive campaign involved cooking demos of our halo-halo (es teler to the rest of you Asians)—the effectiveness was amped by its judicious study of consumer insights and its popular team of professional basketball players. More than 18 speakers graced the threeday conference. Aside from Guerrero’s and Fernando’s sessions, the most attended were the talks on China, including the China Forum and Zenith Media (China) CEO Michael Hanlon’s update on the fast-growing Chinese OOH industry; the visually engaging interactive presentation by Koshi Uchiyama, director at (suit) men Entertainment.com; The Glue Society chief wiz Jonathan Kneebone’s and Posterscope’s Glen Wilson’s speeches on creativity and insight ; the high-tech modules of Giulio Dorrucci of PGK Media (mobile TV), Lorraine Hadfield of Nielsen Outdoor (consumer measurement by GPS —yes, Global Positioning System) and Nicholas Loeillot of Catchyoo (interactive advertising), and the OOH case studies of the Singapore Tourism Board (by Futurebrand’s Gary Coombes) DHL Express (by Singapore national marketing manager Raymond Leong. 1st AOA Awards: Out of Home, But Is It Out of the Box? Who had the best OOH work? To ascertain, AOA jury chairman and regional JWT ECD Tay Guan Hin tapped top creatives, including recent Cannes Outdoor Grand Prix winner and Network BBDO ECD Julian Watt, and 2006 Creative of the Year and Creative Juice/G1 ECD Thirasak Tanapatanakul, to oversee the judging duties.
hopeful entries from over 24 countries in the region. And to set the bar high, a maximum of one gold, one silver and one bronze could be awarded for each category. As expected, not all categories had winners come awards night. As Guan explained, “It’s not enough that you do a mobile ad; you must make it the best mobile ad. Media counts, but it must be the use of media and creativity.” Among those whose ideas immediately captured Guan’s and the jury’s attention were the Japanese agencies, who dominated the field with five wins, followed by Malaysia, with four wins. Of the multinational networks, only JWT managed to collect a good haul of six (from JWT Shanghai, Hong Kong, Singapore
and Japan). A popular campaign finalist, Alteco instant glue, featured an immovable house of cards atop a speeding taxi. Another favorite was JWT HK’s campaign for monster.com had hockey players furiously sweeping the streets of Hong Kong with brooms instead of their sticks and race car drivers pulling rickshaws in public, thus reminding those stuck in the wrong job that the right one is just a website click away. But ultimately it was GT Inc.’s “Big Shadow” for Microsoft Japan, which projected a participant’s shadow onto the side of a building, then had a “shadow dragon” interact with it in real time, that was declared as Best of Show. This campaign was also a big winner at this year’s Cannes. Ending the first AOA Awards on a high note for the Philippines was DM9 JaymeSyfu’s work for Tower Records Philippines which managed to claim a bronze in the hotly-contested Posters (Campaign) category, and BBDO Guerrero Ortega’s aforementioned “half” billboard, also netting a bronze. Ooh’s and aah’s all around then. And bravo! For more AOA information, log one to www.asiaoutdooradvertising.com
Guan said to one and all, “The jury was tasked to reward work that defied conventions. Altered the environment. And redefined the way we see things. We were searching for ideas that fit the right media, with the right message, at the right location. Where the size of the ideas counts more than the size of the media. ” Under their collective watch, the AOA jury members sifted through more than 300
adobo Shines at Suntec, Singapore
A history of the world in 10½ billboards
’m here to give you a history of the world, described through 10 and a half billboards. But as the writer who I borrowed the title from said: “History isn’t what happened, it’s what historians tell us.” So this is my history, which looks at 10 and a half pieces of work that are not supposed to be “the best” ever—but those which can be strung together to tell a good story. Of course, History is bunk. But those who ignore it are condemned to repeat it. The best work has the power to outlast its time. And the best outdoor advertising has perhaps had a greater impact than any other. But the sheer power of the medium gives us—advertisers, suppliers and agencies— the obligation to use that power wisely. The increasing range of media options doesn’t devalue the power of outdoor but increases it. How else are you going to reach a fragmented audience? In fact the only thing that threatens the power advertising, is outdoor advertising itself. Everyone’s heard of email spam. A deluge of messages from people you don’t know, about stuff you don’t want to buy. And usually stuff you don’t think ANYONE wants to buy. It arrives without being asked for, and we have to go extra lengths to block it. Now when the same thing happens in outdoor advertising, it leads to what’s been called “urban spam”. A deluge of messages from people you don’t know, about stuff you don’t want to buy.
A billboard can change the world. It’s up to us to make that change for the better. Now, Metro Manila is Southeast Asia’s largest city. It has a population of 11 million—rising to 16 million during the day. Of course it also has a healthy and vibrant outdoor Industry— one that gives clutter a whole new dimension. Now, let’s take a look at Sao Paolo. Also with over 10 million inhabitants, and also the largest city in its region, South America. Until very recently, Sao Paolo looked much like Manila. But in March this year, a new mayor de-
cided to ban all outdoor advertising. He even imposed strict limits on the size of its shop signs. He perhaps rightly perceived that any partial ban would be too hard to impose. So he just went all the way. Let’s take a look back at some of the most influential billboards in history. And see what we can learn. After all, if we are the problem, we might also be the answer. Now the very first billboard ever, looked something like this:
But a billboard has been called “the extended arm of the client.” And the first client in recorded history was King Hammurabi of Babylon. And this is part of his billboard.
the power to reproduce text on the printing press, posters went from being one-off installations to a mass medium that could reach large numbers with the same message. Perhaps one of the most famous examples was by the controversial evangelist Martin Luther and his 95 Theses, which he posted in 1546. He basically changed the course of Western civilization by challenging the authority of the Catholic church and inspiring the Protestant reformation. Naturally, he used outdoor, nailing his messages on church doors throughout Germany. But until the nineteenth century, posters were all about words. The next great development was in the creation of Lithography, a printing process that allows pictures to be reproduced. Although invented in 1796 in Germany, it didn’t hit it’s stride until about 100 years later, in Paris. These glorious examples by artists such as Jules Cheret, Toulouse Lautrec and Alphonse Mucha can still be found in French restaurants, coffee shops and smoky student bedrooms today. They became so popular that “every wall in Paris was rented out for posters.” So in 1881 the government passed a law to create special “posting places”, and the modern outdoor industry was born. Advertisers worked with artists, printers and posting compa-
Martin Luther posts his outdoor ad
It went up in 2067BC and was a long-copy effort detailing the laws of the kingdom. History doesn’t record whether focus groups liked it. However, it contains the wellknown doctrine “an eye for an eye, a tooth for a tooth.’” So it’s safe to assume people took notice. And so it continued through Roman notice boards, where the designs scratched on the surface were first called “graffiti.” The next big thing happened in China in 105 AD when paper was invented. And then in 868 AD when, centuries before Gutenberg, China also invented woodblock prints. This started a long tradition that was revived in the famous propaganda posters during the cultural revolution of the 1960s and 70s. In 1439, Gutenberg invented the movable type process. With
by David Guerrero
nies to create, post and maintain the poster on the street. This decorative style then evolved to a more graphic style.
However, it was another French-based painter, Adolphe Cassandre, who took the medium an important step forward with work such as this which appeared in 1932.
“The Dubonnet posters were among the first designed to be seen from a car and introduced the idea of a poster series.” Of course the power of billboards had not gone unnoticed by governments. In 1914 perhaps the most famous recruitment poster of all time went up in England. Kitchener’s pointed finger was widely imitated. First of all, by the US Army in 1917, an image which for many personified the national character known as Uncle Sam. But it was another fascinating billboard campaign that caught everyone’s attention in the anti-Vietnam war protest era. And it was funded not by any government but by a young, just married couple: John and Yoko.
Much as George Orwell’s 1984 featured political billboards: “War Is Peace.” “Freedom Is Slavery.” “Ignorance Is Strength.” Some in Britain—and certainly the Labour party—felt an Orwellian nature to the seventh billboard. The Conservative party’s 1978 poster of a snaking line of people queuing for the unemployment office under the slogan “Labour isn’t working” has been voted the poster advertisement of the century [by the trade magazine Campaign].
Created by the Saatchi brothers, the poster is cited as instrumental in the downfall of Labour in the 1979 election and the rise of Margaret Thatcher. It was the first to adopt the aggressive marketing tactics which
characterise modern elections. After the election, the Tory party treasurer claimed that the poster had “won the election for the Conservatives.” Ironically of course, within a few years, the party actually trebled unemployment—but remained in power until the arrival of Tony Blair in ‘97. But the level of political debate has been kept consistently high by another great political brand that has more than most defined itself on billboards.
This, of course, is just one of the most recent of a campaign that began at AMV in London in 1986 and has been called “one of the most admired poster campaigns of recent times” by D&AD. The campaign, which has won countless awards, worldwide has also boosted ad revenues for the paper by over 250 percent and circulation by over 25 percent in the UK alone. In recent times, the most recognized outdoor ads have gone beyond simply two dimensional ideas and have taken ideas to people in the most appropriate and engaging way they can. We’ve seen Asia taking a lead on the global awards stage with some of the most innovative work that’s been seen anywhere. Adidas has been leading the way with this campaign implemented in Tokyo. And more generally, Asia has been to the fore in the current definition of outdoor that has been as much about innovative ways to reach people as simply bombarding them with a one-size-fits-all solution.
clutter and when it was launched had a real live human being in it to demonstrate its effectiveness. And in the wake of it a new wave of inventiveness is being seen— including this little half-billboard for a broadband internet company. But what is the future for the most public medium of all? How do we stop ourselves from being legislated out of existence. Well, two campaigns in the past 12 months have shown the way we might go. First of all in France, there was an initiative by JC Decaux to provide free bicycles for the people of Paris,
in return for the right to put ads on the bike sheds and bus stops. The scheme has been wildly successful with the only complaints being that the bikes are so popular it’s sometimes hard to find a place to park them when they’re returned. And in South Africa, our colleagues in Network BBDO came up with a way to bring their client’s promise of “power to the people” in a most dramatic way. They created a billboard that includes solar panels— which supplies electricity to the school in whose grounds it stands—enough to cook lunch for over a thousand kids. And all at no cost to the people who benefit. Can we go from being urban spam to being useful? Accepted? Loved? That’s the challenge we all face in Asia—and as clients, providers and agencies we all need to work together to face it. A billboard can change the world. It’s up to us to make that change for the better.
David Guerrero is the chairman and chief creative officer of BBDO Guerrero Ortega
Billboards 10—and a half. We return to Manila as we reach the conclusion of our talk—and one of the most surprising pieces of work in recent times in this market. A billboard for a mass market personal care product that doesn’t show the target audience, doesn’t have any november-december 07
There’s Always Another Way to Say It
Engage 2007 Gathers the Bravest Communications Thinkers
he communications industry continues to change by the day. Now, the Internet is considered a “traditional” medium, blogs have become an accepted phenomenon, and virtual worlds appear by the day. As consumers demand ever greater honesty, accountability and quality from the brands they buy, creating true consumer engagement requires smarter, broader thinking. With literally thousands of ways to tell a brand’s story, Leo Burnett Worldwide, sister company Arc Worldwide and Contagious magazine recently hosted Engage 2007; a two-day event that saw some of the brightest marketing minds share their future-facing ideas on new trends in the communications and brands industry. Held at the prestigious Singapore Raffles Hotel, the sold-out forum attracted nearly 400 delegates from 17 countries worldwide, including global brand gatekeepers from P&G, Diageo, General Motors and Coca Cola. “Marketing is getting more complex,” stated Michelle Kristula-Green, president of Arc and Leo Burnett Asia-Pacific in her opening speech. “Yes, in Asia TV is still fairly ubiquitous. But the retail environment is changing as we speak. Asians are massive and fast adopters, leapfrogging developed countries in their embrace of mobile and digital technology. Complexity can be scary or exciting. We prefer to think the latter and embrace complexity as a friend that provides new opportunities. As we evolve to marketing models that are more like kaleidoscopes, we are lucky that we are here together, as friends and colleagues, to discuss these thought-provoking issues and exciting possibilities.”
Attendees raved about the interactivity of the www.engage2007. com website, customizable delegates’ tags, the shadow play performances that jazzed up the tiny windows in-between presentations—even the color-coordinated desserts at lunch. On the speakers’ side, highlights included Todd Sampson of Leo Burnett Sydney’s personal behind-the-scenes recounting of Earth Hour, the one-hour lights out initiative aimed at combating global warming which has since become a global event. Jeffrey Cole of Center for the Digital Future also kept the audience enthralled with his take on the
“As we evolve to marketing models that are more like kaleidoscopes, we are lucky that we are here together, as friends and colleagues, to discuss these thought-provoking issues and exciting possibilities.” —Michelle Kristula-Green, president of ARC and LeoBurnett Asia-Pacific
Adrian Mah (Brand Executive, Asia Pacific Breweries Ltd)
Grand Finale Adeline Tan (The Talent Business), Linda Locke (Godmother Pte Ltd), Ng Tian It (Lowe Shanghai)
way the Internet is likely to evolve, while YJ Ban, founder and creator of Stikfas action figures, won over more new fans with inspiring insights on how he built his multimillion toy company from scratch. Not to be outdone, AirAsia’s Group CEO Tony Fernandes gave pointers on how to run an airline company. An airline company! Talk about reaching for the skies. Perhaps next year’s Engage will aim for the moon. Given their successfully innovative track record, they may just succeed. Shadow Play
Michelle Kristula-Green (President, Leo Burnett and Arc Asia Pacific), Antonio Ventosa (Head Marketing, ABS-CBN Broadcasting Corp)
Peter Soh, John Kyriakou & Michael Rebelo of Saatchi
regionalnewsbriefs 24/7 REAL MEDIA TO FULLY INTEGRATE WITH CHINA’S LARGEST SEARCH ENGINE 24/7 Real Media, the leading global digital marketing company, announced that it will fully incorporate with China’s search engine Baidu.com’s. 24/7 Real Media is the largest global search marketer to integrate with China’s most popular search engine, which reaches 62 percent of China’s 162 million Internet users. The integration will allow 24/7 Real Media clients to dynamically manage online marketing campaigns on every major search engine worldwide, generating top return on investment and budget optimization. 24/7 Real Media has been managing paid search campaigns in China for over two years. Integration with Baidu gives the company even greater access to a booming market. According to research firm Analysys International, the size of the China search engine market reached US $153 million in the first half of 2007, increasing 69 percent quarter on quarter and 29 percent year on year. The China online advertising market is projected to reach US $1.5 billion by the end of 2010.
BATESASIA ACQUIRES MAJORITY STAKE IN METHINKS IN CHINA WPP announces that its wholly owned operating company BatesAsia agreed to acquire, subject to regulatory approvals, a majority stake in MeThinks, a leading integrated marketing services agency in China. Founded in 2000, MeThinks is based in Shanghai and employs 98 people. Clients include adidas, Coca-Cola, Duracell, Gillette and Johnson & Johnson. MeThinks’s unaudited revenues for the year 2006 were RMB 34.9 million, with gross assets at the same date of RMB 36.6 million.
JWT STUDY: MOTHERS IN INDIA ENABLE AND EMPOWER CHILDREN The Indian mother and child is now a team with a shared vision, with mothers actively believing they can shape their children’s destiny for mutual benefit, says the latest JWT Brand Chakras study. Close on the heels of “The Power and the Glory”, which studied the Global Indian, JWT now looks at payoffs that mothers want from their children and vice versa, through Brand Chakras. The insight mining exercise was done in India covered SEC AB mothers with children between 8 and 16 years, through group discussions and depth interviews with mother-child pairs. Enabling and empowering, coach and companion, event manager and project manager, motherhood has moved beyond protection, nurturance, compassion and selflessness. The child is now a project and a mission; and industriousness, determination, passion and planning are the dominant traits. The children are looking to the mother to give them the headstart they need in life and ensure that they remain focused. november-december 07
WHAT THE EFFIE?! Effectiveness, Dear Watson, Effectiveness. “The numbers don’t make your story. The story makes the numbers.” That, and many other valuable tips were freely given by Judd Labarthe, chairman
of the 2008 Asia-Pacific Effie Awards, at a workshop last October. Held at the Ayala Mueseum, Labarthe gave his rapt audience a short but thorough backgrounder on how the local agencies could crack— and ultimately conquer—this uncommon award. Introduced in 1968, the Effie® is the global benchmark for creative effectiveness. Worldwide, there are 36 national Effie Awards programs, two regional programs (the Euro Effie and the newly launched Asia Pacific Effie), the Global Effie Awards and Effie conferences and case study presentations. An Effie celebrates only the best campaigns—those that met
or exceeded their objectives, as demonstrated by strong storytelling and persuasive evidence. Winners successfully combine all the disciplines that enter into a marketing program: planning, media, creative, market research and account management. And they all demonstrate clientagency partnership in the creation, management and building of a brand. Any form of consumer engagement is eligible for an Effie award—from print to TV, from packaging design to guerrilla marketing, from events to digital…anything goes. As a result, Effies have become THE award to win in over 35 countries. All Effie entries are anonymous affairs, i.e., no mention of the agency name lest one courts automatic disqualification. That detail alone levels the playing field and allows smaller agencies to slug it out with the big boys. Submitted case studies are read by a panel of judges who determine if the results were true to their original marketing objective— and then some. “The way you win is not
Ham Singh at 50!
Harmandar “Ham” Singh, a 20-year ad industry veteran and, more famously, as the publisher of ADOI, Malaysia’s leading advertising trade magazine, recently celebrated his 50th birthday. “What better way to celebrate than with my family in the snowy mountains of the Himalayan Range in heavenly Himachal Pradesh, North India,” said Ham.
Eff4: Nandy Villar (McCann Erickson), Judd Labarthe, Randy Aquino (Ogilv y & Mather) and Raul Villegas (JW T)
by strengthening the strengths of your story,” advised Labarthe, “but by eliminating your weaknesses.” Labarthe’s visit also formally marked the Philippines’ inclusion in the AsiaPacific Effie shootout. Building on the success of countrylevel programs in China, Hong Kong, India, New Zealand and Singapore, the 1st Asia Pacific Effie Awards aims to reward the most effective marketing com-
“The numbers don’t make your story. The story makes the numbers.”
munications cases in the region. Unlike the Euro Effies, this is a country-vs.-country format and not a transborder one. Which means that those who win an Asia-Pacific Effie will truly be able to say their work has been judged against the very strongest Asia has to offer. Winners will be awarded at the World Effie Festival in Singapore on February 29, 2008, where some 2,000 delegates are expected to attend, as well as the 10,000 more virtual delegates from around the world.
regionalnewsbriefs Universal McCann Phils. and BBDO Guerrrero Ortega leads Asia in Effective Marketing adobo, “Bituin was the perfect opportunity that we have long been on the look-out for, a property that would bridge two important occasions to the QSR consumer—the Jollibee visit and viewing their favorite telenovelas (TV soap operas).” He added, “We were very happy that our work successfully delivered more than what we aimed for. We got hailed as one of Asia’s best.” UM worked with television network ABS CBN on integrating the Jollibee brand in the program content of “Bituing Walang Ningning”, a top-rated telenovela which starred Sarah Geronimo, herself a Jollibee endorser. In the story, Jollibee was an instrumental element in the protoganist’s dramatic quest for fame. The campaign resulted in high awareness levels for the brand intrusions (55 percent), 305,606 SMS entries, 5 percent higher program Universal McCann’s team; from left, back, standing: Tin Obusan, ratings and a 13 percent increase in patronage Regi Lagao, Oyie Pingol, Mitch Ramos, Tin Borillo, Pam Catindig. Front, seated; Lori Chua-Ramos, Adel Tuason & M D Venus shares for Jollibee. Navalta. Not in picture is UM Vice-President Malu Vasallo The other big winner from Manila was creative hotshop BBDO Guerrero Ortega, who won wins two silvers for their regional clients Visa and FedEx. For going the advertising distance, BBDO topped the “Best Long-term Marketing and Branding Campaign” category for both brands. In two separate submissions, the FedEx and Visa campaigns— conceptualized from the very beginning by BBDO Guerrero Ortega— showed that they outperformed the competitors by a wide margin. The 16 judges in this year’s Awards stated that the “We Live To Deliver” campaign for FedEx, a campaign BBDO Guerrero Ortega has been leading for over eight years now, “has consistently proven more effective than DHL with a proven savings of over US$4 million.” With David Guerrero (left) is a happy man. BBDO Guerrero Ortega the “All won two silvers for prized clients FedEx and Visa. Others It Takes” in photo are (from right) Chris Thomas, BBDO Asia Pacific Chairman and Chief Executive Officer; Laura Crampton of campaign, FedEx Asia Pacific; and Jean Paul Burge, BBDO Asia Pacific Regional Account Director for FedEx Visa’s shares in the region The prestigious Asian Marketing Effective- enjoyed a ness Awards, held recently at the Grand Ballboost from room of Marriiot Hotel in Singapore, saw two 45 percent Philippine agencies taking home major trophies: to 53 percent Universal McCann Philippines for Jollibee and and made adobo’s Angel Guerrero at the awards with FedEx Asia’s Laura Crampton BBDO Guerrero Ortega for regional clients FeVisa “Asia’s dEx and Visa. most preferred way to pay”. BBDO Guerrero OrAtifa tega launched the campaign with a commercial Hargrave-Silk, starring Asian superstar actress Zhang Zi Yi. editor of Media As BBDO Asia Pacific Chairman Chris said, “The Thomas puts it, “Effectiveness and creativity message of are two sides of the same coin. BBDO is showing this year’s awards is to pioneer and breakthrough that great creative work is effective, and that we conventions—to create campaigns that are effective deliver effective campaigns for our clients.” David and which brands and consumers across the world Guerrero, chairman of BBDO Guerrero Ortega, will need to take note of.” commented, “We are very proud of our associaUniversal McCann (UM) Philippines, the tion with both of these great brands, and of the media agency of McCann Worldgroup, scored an contribution made by Filipino creativity to their impressive victory when it won a gold for Most continuing success.” Effective Use of Sponsorship. The UM entry The nights’ Platinum awards went to Ogilvy was “Bituing Walang Ningning Bee-2-Win” for & Mather Hong Kong, for Coca-Cola China and Jollibee, the country’s leading quick service their Coke Light campaign “Burning 1 Calorie is restaurant (QSR). It was a showcase of a media Unbelievably Easy.” initiative that reinforced a brand’s image of The 2007 effectiveness show was the most innovation and creativity, while strengthening competitive in the past four years, with 550 awareness, increasing consumer involvement entries from Asia. and generating sales. Andy Lambert, regional director of Visa Adel Tuason, the UM media director who Asia Pacific, was this year’s jury chairman for was in Singapore to receive the recognition told the competition.
OMD SINGAPORE DOUBLEAWARD IN THE MEDIA AGENCY OF THE YEAR OMD Singapore has been awarded Media Agency of the Year at the Singapore Hall of Fame Awards held in Singapore October 19, 2007. OMD Singapore also clinched the same title at the Singapore Media Awards on September 21, 2007.
SAATCHI & SAATCHI AUSTRALIA NEW CREATIVE TEAM Saatchi & Saatchi Australia Chief Executive Simone Bartley announced the appointment of Steve Back as the agency’s new executive creative director. Mr. Back, currently creative director at DDB Sydney, is one of two new appointments announced by Saatchi & Saatchi, the No. 1
creative agency in the Asia Pacific. He replaces David Nobay. David Bowman also joins the Saatchi & Saatchi team as creative group head, relocating to Sydney from Droga5 New York. The two new appointments are part of the ongoing evolution at Saatchi & Saatchi, a key factor in retaining its leadership position. Worldwide creative director of Saatchi & Saatchi, Bob Isherwood, personally led the intensive global search. forefront.”
SAATCHI & SAATCHI SINGAPORE IS AGENCY OF THE YEAR 2007 Saatchi & Saatchi Singapore was named Agency of the Year 2007 by the industry’s governing body, the Institute of Advertising Singapore. This coveted honor is measured by the quality of the creative work, new business, staff retention, corporate social
responsibility, company standing and client results, and this is the second year in a row that Saatchi & Saatchi have come out on top. The agency also won a total of five awards across the following categories for some of their biggest brands: Campaign of the Year - Guinness “9 Ball”; Television Campaign of the Year - Guinness “9 Ball”; International Print Campaign of the Year - Sony Ericsson “Shadows”, and Press Campaign of the Year - UOB “Christmas Campaign.” To add to the prestigious Agency of the Year award, this is also the second year running that Saatchi & Saatchi Singapore has won Campaign of the Year, a feat no other Agency has achieved in the history of this award show. november-december 07
globalround-up D&AD OPENS FOR ENTRIES The D&AD Awards 2008 are open for entries and are announcing the Direct, Integrated, Digital Installations and Broadcast Innovations juries, as well as the following digital juries: Online Advertising, Websites and Viral. Steve Henry, TBWA\London, leads the Broadcast Innovation jury with Ty Montague from JWT New York, who is also judging. Steve Mykolyn from Taxi Canada is foreman for Online Advertising. Nick Law from the New York agency R/GA judges Integrated. Nick is one of the creative directors who worked on Nike+ (D&AD Black Pencil in 2007). Judges from Asia include David Guerrero, from BBDO Guerrero Ortega, Philippines, for Poster Advertising; Danny Searle, BBDO Singapore, for Press Advertising jury; Calvin Soh, Fallon Hong Kong, for the TV & Cinema Advertising jury; and Nagi Noda from Uchu Country in Japan judges TV & Cinema Crafts. Guerrero is the first Filipino judge in D&AD. (Gavin Simpson, a Malaysian representing O&M Manila, was part of the D&AD jury in 2005.) A full list of judges is online at www.dandad.org/awards08.
GUNN REPORT NAMES CLIMA BICYCLE WORLD’S NO. 1 PRINT CAMPAIGN
The highly innovative Clina Bicycle campaign created by Leo Burnett Bangkok is the most awarded print campaign in 2007, said the Gunn Report. Leo Burnett Milan’s “Underwater World” was one point shy of winning the top television spot of the year. The Sony Bravia “Paint” TV commercial ranked Number 1. The Leo Burnett network ranked 6th overall with 95 points contributed by 19 offices. For the first time ever, the network had two offices in the world’s top 20 creative agencies, with Leo Burnett Chicago at no. 15 and Leo Burnett Milan at no. 19. “There results are a testimony to our creative strength and talent in every pocket of the globe,” said Mark Tutssel, chief creative officer of Leo Burnett Worldwide.
STARCOM WINS SOTHEBY’S
Starcom has been appointed to handle media planning and buying for Sotheby’s marketing activities in Europe, an account worth £1.4 million. Sotheby’s is one of the world’s leading fine-art auction houses, engaging in art auction, private sales and art-related financing activities. The company operates in 35 countries, with principal salesrooms located in New York and London. The pitch was handled by AAR, and the result came after a final head to head with BLM Red. november-december 07
Not Too Bad, Innit?
Asia Dents The LIA
Last November 12, all roads led to the London Hippodrome, where the 22nd London International Awards (LIA) ceremonies recognized the most preeminent work in the fields of advertising, design and digital media today. This year also marks the passing of Finalists standings in the ceremonies and the debut of the Silver Statue. For the past 21 years, Gold was the highest honor and the only statue presented to winners. Now, the LIA has chosen to recognize the superior calibre of LIA submissions. “The Silver Statue was established to acknowledge the work that didn’t warrant a Gold but deserved more than a Finalist recognition. So Silver is a good bridge between the two,” stated LIA President Barbara Levy. Despite the addition of the Silver Statue, winning in
the LIA was more competitive than ever. “Our jury, which was comprised of some of the world’s top creative directors, debated intently before deciding on the 1,090 finalists,” Levy added. “It became clear that our decision to include Silver enabled the judges to honor submissions still deserving
high acknowledgement.” The 2007 winners were selected from an entry pool of 17,660 submissions. This vast number reflects the prestige and explosive growth of the London International Awards since its inception in 1986, when only 2,600 submissions were considered. Still, from thousands of hopefuls, only a fortunate 316 entries garnered enough votes to win a Gold or Silver statue. From such a reduced number, a mere 43 were from Asia. The Philippines wasn’t shut out, notably, as Ogilvy & Mather Philippines’s billboard
Harrison Makes Shortlist in the Healthcare Global Awards Harrison Communications’ outdoor campaign for Neozep titled “Hole in the Wall” was the only Philippine agency to get shortlisted in the New York Festivals, Global Awards for the Guerilla Advertising category and the Outdoor category. The Global Awards are the world’s largest and most coveted healthcare communications awards and are the only ones dedicated to the recognition of excellence on an international basis. Over 1,200 entries came in from 32 countries. Preliminary judging was held in cities worldwide from Barcelona, Chicago, Melbourne, New York, Paris, and Sydney. Shortlists will move on to the final round of judging and compete for a Global Award, or receive a Finalist Certificate The final judging session will be held in New York on November 19th. The full Shortlist is available on the Showcase section of The Global Awards website, www.theglobalawards.com.
globalround-up DROGA5 OPENS SYDNEY OFFICE
for Pond’s Anti-Bacterial Facial Wash continued its winning ways and received a Silver. One Filipino whose work made the final cut was
Droga5’s oft-lauded founder David Droga is opening a shop in Sydney, to be headed by former Saatchi & Saatchi, Sydney ECD David “Nobby” Nobay and head of strategy Sudeep Gohill. Gohill joined Saatchi in June after stints at Wieden+Kennedy and BBH, Tokyo; his departure from Saatchi was made public just this week. Nobby’s ties to the agency reportedly has ended and his departure was announced in mid-September.
“The Silver Statue was established to acknowledge the work that didn’t warrant a Gold but deserved more than a Finalist recognition. So Silver is a good bridge between the two,”—LIA President Barbara Levy.
TOYKO TO HOST LEADING ADVERTISING AND DESIGN EXHIBITION An exhibition of work selected from the prestigious D&AD Awards opens at the Advertising Museum Tokyo (ADMT ) on March 4, 2008. The event is co-organized with the Yoshida Hideo Memorial Foundation. The D&AD Awards 2007 Exhibition: Creative Excellence in
the redoubtable Roger Pe, whose Prefers Shampoo campaign, accomplished during his DDB Malaysia stint, also won a Silver. Last but certainly not least, Y&R Philippines’ Leigh Reyes and Trish Uy’s Soroptomist posters (credited under Y&R Malaysia) were cited for two Silvers and two Golds. As for the rest of the region, agencies from China, Korea and Taiwan also received Silver honors, while a handful from Thailand, Malaysia, India, Singapore and Japan fared better and received Gold, thank you very much. Still, a mere handful out of seventeen thousand? Does make you bloody think everyone could have done better. Well then, time to get a-cracking for the next LIA, luv! All of the winning entries can be viewed at www.liaawards.com.
BBDO THE MOST AWARDED AGENCY NETWORK IN 2007 BBDO Worldwide was declared the world’s most awarded agency network by the Gunn Report 2007, the annual league table of the advertising industry. The network had a clear lead over Saatchi who are in second place. BBDO flagship office in New York showed the way—with the highest ever finish in the Agencies ranking. Six more BBDO offices made it in the top 50—Almap BBDO Sao Paolo, AMV BBBDO London, BBDO Chile, Contrapunto in Spain, Net#work BBDO in South Africa and BBDO Argentina. However, BBDO’s strength was not only in depth; this creative network had 24 markets contributing to the score. In the roll call of BBDO agencies that contributed to a wonderful year are FHV BBDO in Amsterdam, Colenso BBDO in
Auckland, AtmosphereBBDO in New York, Impact/BBDO in Dubai and Jeddah, BBDO Guerrero Ortega in The Philippines, CP Proximity in Barcelona, Tempo BBDO in Madrid, Energy BBDO in Chicago, Inerone Worldwide in Munich, 185 BBDO in Tokyo, Gitan/BBDO in Tel Aviv, Clemenger BBDO in Sydney and Melbourne and BBDO agencies in Toronto, Prague, Paris, Dusseldorf, Panama City, Kuala Lumpur, Bangkok, Singapore, Lisbon and Zurichlisobo. In the nine years of the Gunn Report, only four networks have ever topped the Agency Networks table: DDB Worldwide twice, Leo Burnett once, TBWA Worldwide once and BBDO Worldwide has won all other five times! Clear proof that “The Work. The Work. The Work”, in fact, works.
Advertising & Design includes work from some of the world’s most famous brands including Nike, Nintendo, and Dove. The D&AD Awards recognize the most outstanding creativity in advertising and design from around the world each year. Categories include copywriting, art direction, graphic design, environmental design, music videos, branding and digital communication. Nominees and winners from the 2007 awards are to be showcased in the exhibition. This D&AD Awards 2007 Exhibition (admission’s free) will be open until April 5, 2008 and will be held in conjunction with UK-Japan 2008 activities.
TBWA\CHIAT\DAY, THE MOST-AWARDED AGENCY IN THE WORLD FOR 2007 TBWA\Chiat\Day (New York, Los Angeles and TBWA\MAL) was named the “Most-Awarded Advertising Agency in the World” for 2007 by The Gunn Report. Donald Gunn reported that TBWA\ Chiat\Day’s “’Snickers and Skittles’ were notable winners in Print. ‘Skittles and Combos’, which seemed to break just in time for Cannes last year, absolutely cleaned up in TV in the 2007 shows. And the wonderful ‘Mac vs. PC’ campaign for Apple (from TBWA\Media Arts in Los Angeles), which debuted just in time for Cannes 2007, threatens to win everything in sight in 2008.” TBWA as a network ranked 3rd overall in the report with a total of 15 offices contributing to the ranking. november-december 07
Jim Aitchison’s Global Advertising Bible is Back
said five or six years ago has not changed.” He laments that the young creatives of today are missing out on a lot. “We had more fun. The kids of today aren’t having as much fun. They do not have the chance to do great work; they are not doing great work in most markets. They are just plodding.”
by Angel Guerrero dobo magazine sat down for coffee with Jim Aitchison at the Ritz Carlton Singapore, late October to get an exclusive on his new book. Fresh from the printers, The Cutting Edge Advertising 3rd edition, was published and ready for its global rollout just three weeks before our sit-down. Aitchison looked relaxed in his loose cotton shirt, tousled grey hair, sparkling smile and a tan so deep that he could have passed for George Hamilton’s kid brother on a tropical holiday. It was much different look from the tight black tees he used to wear during his Media Magazine days. Now famous author of the line of advertising bibles, Aitchison introduces a spanking new edition of Cutting Edge Advertising: How to Create the World’s Best Print for Brands in the 21st Century. This 464-paged third edition is reformatted and in full color. On the cover, it sports a blood stain, alluding to the book’s original design, where the title took the shape of a dagger. (For believers in brand equity, the dagger makes a discreet appearance on the back cover.) It is a thoroughly modern take on the previous editions, which have gone through 18 reprints. “It has sold over 30,000 copies worldwide in English, and many more in Chinese, Turkish, Russian, Portuguese and Romanian!” Aitchison added that American universities and colleges, including Columbia University, are driving the sales. “They resisted the book initially because it wasn’t—fortunately—an academic text! But it became a cult book among students, and now they got the message!” The new edition covers everything on print advertising, from how to get an idea, how copy and art should be crafted and how brand methodologies are changing. Using hundreds of examples from the world’s top advertising agencies, Cutting Edge Advertising explores the crafting of great print ads. It demystifies the advertising creative process, with page after page
of practical, inspiring and often controversial advice from such masters as David Abbott, Bob Barrie, Tim Delaney, David Droga, Neil French, Marcello Serpa, Indra Sinha and dozens more. Over 200 print ads and case histories reveal the creative processes at work in world-famous agencies from the US, UK, Asia and Australia. “The biggest difference between the previous edition,” he said, “is the color!...This edition has so much variety than the old book. A new layout, more color. The classic ads are still there. Marcello Serpa has a voice, a lot of new ads, and The World Press Awards”. Jim Aitchison, 66, resides in Singapore, his home for the last 26 years. A refugee from advertising, he is the former executive creative director of Batey Ads and The Ball Partnership. After amassing 600 ad awards, he is now the author of over 60 books. He is also an alumnus of the Lee Strasberg Theater Institute New York and has acting credits as a theater actor and voiceover talent. This prolific author of the Cutting Edge Advertising (which include books on Cutting Edge Radio and Cutting Edge Commercials) and the Clueless series also writes children’s books under the pseudonym James Lee whose Mr. Midnight that has sold over a million copies. Also in the works are the Mr. Mystery mystery/crime series under Angsana Books. “It took 12 years to do 70 books. That is slow actually,” he said, smiling. When asked if he would go back into the corporate life, he said, “I do not want to do anything else!” He starts writing at 8 each morning and finishes by 12 noon. “I write the same number of hours everyday, otherwise you lose track. Every book I write, I read four times…If you are in advertising you can’t do this.” When asked how he splits his advertising and kids world, Atichison said, “With the advertising books, I have done all the research. I revise them, top them up with new ads, select them, add a new voice. With Cutting Edge, I talk to the best people in advertising. What they
The reason is due to the nature of the business, he said. “Clients have changed alot. Young graduates with no life experience or skills. They know computers, how the get an MBA and do not really understand creativity. When they have to approve the advertising, they look at it in a clinical way and tick the boxes. They should got a look further and beyond the brief.” Aitchison came to the Philippine Ad Congress in Cebu as a speaker in 2003, and fell in love with our crackling lechon (roasted suckling pig). “You haven’t lived if you have not tasted lechon! The pork belly, the crackling on the skin. It just falls part in your mouth. Then a heart attack after!” he laughs. “The ad industry in Manila is huge! Thousand of people,” he recalled. Compared to the other festivals he has witnessed, “there was so much traffic in the convention area.” Well, this Ad Congress in Subic (if all goes well), the Philippine delegates will be among the first in the world to buy the latest Cutting Edge Advertising at the adobo magazine booth in the exhibition. Stay sharp!
CREATIVE REVIEW by Ted Royer
Executive Creative Director and Partner, Droga5
I’ve always thought the Philippines could develop a creative voice as distinctive and strong as the Thai advertising industry has been able to develop. Whenever I visit the Philippines, I find creatives with as much passion and humor as I do anywhere else. It is, I believe, only a matter of time until the ad industry there really comes into its own. Thus I was encouraged when I saw the work for this week’s review. There are some pieces here that I genuinely found funny, and others that showed that overall conceptual development is improving. Unfortunately, there is still a tendency for the creatives to rest after coming up with the first thought. Perhaps that’s due to the pace of work in Manila. But with deeper creative and executional exploration, this market could really begin to play consistently on the regional stage.
Ted Royer is the executive creative director and partner of New York-based Droga5 with agency Chairman David Droga. Royer oversees all advertising, new media and creative content for Droga5’s clients. Prior to joining Droga5, Royer was worldwide global creative and creative director on the Heineken in Publicis, and was a member of the network’s Worldwide Creative Board. He also had a stint at Publicis Mojo in Sydney. At Wieden+Kennedy, Royer created award-winning work for the ESPN with citations at The One Show and Cannes. His TV spots were named Adweek’s “Best Spots of the Month” five times from year 2000 to 2001 and “Best Spots of the Year” in 2001. Royer started in Asia some years back as senior art director in Saatchi & Saatchi, Singapore, and won major awards in Cannes, Clio, Communications Arts, British Television Awards and at the local CCAs. His winning streak continued when he moved to Latin America to work at Ogilvy & Mather in Argentina as regional creative director. During his two-year stint in Latin America, Royer won the region’s first major award in ten years—with Golds and Silvers in the Clio Awards, One Show Silvers and Bronzes, and three Bronzes in Cannes. In his globetrotting career, this graduate of the Professional School for Art Direction and Copywriting and of Portfolio Atlanta has gathered over 50 major awards around the world for such clients as ESPN, Unilever, Hewlett Packard and Heineken.
Funny. Good crafting. The acting is nice. Made me laugh. Campaign? Hot Loops Donuts “Hostage” poster Campaigns & Grey
View the ads at www.adobomagazine.com
A nice thought. The ads themselves feel long; there is no reason this campaign couldn’t work as a tight group of 30’s. In both the screenwriter and director spots, I wanted to see the little girls use even more technical “industry ” language. We see too much playing in the director spot, we should get to the point faster, and again, here the little girl really needs to direct her sister. The cinematographer spot works best, although it took me a bit to get past the stunning poverty. But the subtle joke is nice. Watch sound design; it feels forced in many places. All in all a mature, if uneven, campaign. Cinemalaya Film Festival “The New Breed” T V Campaign “Bedtime/Writers” / “Snapshot/Cinematographers” / “Playtime/Directors” blackpencil manila
As a riff of the Economist campaign, this is an ad campaign that ’s directed toward ad people. Would the average person who needs help with English even know what the Economist ads are? Would that same person even get the lines as jokes? Deeper thought and insight is needed. European Chamber of Commerce Philippines “Bad English” Print Campaign BBDO Guerrero Ortega
“Bad english is bad for business.”
by Ted Royer, Executive Creative Director and Partner, Droga5
This spot has a nice sensibility to it, and the acting is pretty good. I wish the writers had gone past the first thought though. It ’s a funny product with a client obviously willing to do something good, yet this idea is really the first thing one would think of. SkinWhite Whitening Deodorant “Sweethearts” T VC Creative Juice\Manila
Fat jokes! Since the invention of pants, the butt crack has been a reliable source of humor. This campaign is decently crafted (although the st yling could have been pushed much harder; the photographer could have stretched his talent much farther), but really only the third one made me laugh. The others, again, feel like first thoughts. If I were the CD I would say, “Do 30 more executions, then we’ll pick the most original ones.” Nagaraya Nuts, Zero Transfat Zero Cholesterol “Couch” / “Carjack ” / “Chair” Print Campaign PC&V Communications
by Ted Royer, Executive Creative Director and Partner, Droga5
This is a case of the medium being more interesting than the ad. Driving by this piece would be fun and a person’s curiosity would definitely be aroused. But it doesn’t make that much sense; would any object, moving as fast as possible, really rip up the wall like that? What it really looks like is that the driver of the car smashed into the wall over and over. The wrong message for Ford, I’m sure. Ford Focus Diesel “Crack ” Ambient JW T Manila
Funny. Good idea, and a nice dirt y joke with a clear message. However I think the line still spells out the idea way too much, and uses a pun to do so. It should have been a simple straightforward downloading message with no clever line. The target would have gotten the message without the line. SMART FHM “Tissue” Print DM9 JaymeSyfu
A nice spot, one that probably stands out on T V. It ’s a bit over explained in the shot when the woman is taking the bag down, and the same message could have been pulled off in a more subtle way. It ’s a “save money ” idea that again feels rather like a first thought, again. I would encourage deeper thinking. Max’s Restaurant 50% off promotion “Luggage” T VC Ogilv y & Mather Philippines
View the ads at www.adobomagazine.com
TheIceQueen It could work, I guess, especially for people who don’t really know me. But among those who do, that’s what they sometimes wish I could be. Or else people would never stop “using me in a sentence.” In truth, I have more of the Santa in me despite this icy garb. A good friend once christened me Susan “in excess” Dimacali, a name that stuck because I tend towards excess when it comes to friends, family, and just about anyone with a good cause or a hard luck story. Which makes me an appropriate choice for a Christmas issue! It probably comes from having grown up with very little extras because my father was an honest Air Force colonel. I still remember the joy of having my first brand new, crisp blue uniform when I was in my third year of high school! I was the third in a brood of five girls, and hand-me-downs were my reality. Food was rationed and it was a choice of the buto or a fourth of a pisngi of mango, the chicken back or half a drumstick. Looking back, it sounds dangerously like I’m painting a Tiny Tim scenario, but it wasn’t that way at all. We never felt deprived as kids, at least not in the things that mattered most. I did develop a very strong work ethic, though, and a drive to make sure people close to me will never go hungry or want for more ever again. Which makes me a favorite ninang and go-to for OT food, raffles, trips abroad, charity fundraisers…. Generous to a fault? So sue me.
PROFILE OF A LEGEND
The Original Big Bad Momma by Harry Mosquera For her sheer physicality, Emily Abrera is Philippine advertising’s original Big Bad Momma. Towering head and shoulders above most average-sized Filipinos, she comes across as a primordial Earth Goddess: a creative force of nature that can be gentle and protective yet be dangerously smothering in her embrace.
s a creative force, Emily is bad—in a complimentary Ebonics context. As the first Filipina president of a multinational ad agency, she has broken down barriers of gender and race to become a veritable legend and one of the most recognizable women in Philippine advertising history. And who can forget her heartwarming masterpiece—that television commercial of nuns praising the virtues of Del Monte Tomato Sauce? Now considered a Philippine advertising classic, the commercial was considered a breakthrough material in its time for the simplicity, sophistication and subtlety of the concept and execution. Without a doubt, Emily’s place of honor in local advertising’s pantheon of eminences is assured. Ask her friends what they think makes Emily special, and you will end up with a long list of admirable qualities, mostly of the maternal kind. But perhaps at the root of her success and longevity is an eternally optimistic, inquisitive
and creative nature. Beyond that, there is no argument she is an incredibly open-minded and charitable person. She also truly believes that everything in life is about paths crossing, and that goodness that is shared or given is always returned in kind. Like a typical mother figure, Emily possesses honorable qualities that can make a fan out of even the most cynical person. Those who have seen her chuckle and smile know she can be lighthearted and silly as anyone else. On the other hand, she has been known to stick to her guns on a project or principle that she deeply believes in. Interestingly, Emily considers it a miracle that she ever got into advertising in the first place. “As kids,” she recalls, “we did not have a TV set at home. My father was wary of mass media which he thought was something that brainwashed people.” His greatest fear, she says, was “that we would get programmed or brainwashed into thinking a certain way.”
Yet Emily’s father Franco Altomonte, a full-blooded Italian, loved to read books every single night of his life. He infected his precocious but shy daughter with a love for books. And as a professional photographer, he also taught her photography at 13. She learned to develop pictures, and eventually became a photographer’s assistant. For Emily, her father was not only a mentor, but a friend. As she grew older, Emily outgrew her shyness as her more expressive Italian nature flourished. Because she was involved in the family’s photography studio, Emily thought her calling was in the Fine Arts. But in college, she discovered that she could also write, and one summer, her father asked her to write an essay a day. “I had no idea what he did with them… maybe he was pleased,” she muses. In hindsight, it was, according to Emily, “good exercise.” Her introduction to the world of advertising came in a roundabout way—through her husband, the late Caloy Abrera. Emily met her husband in college, and was, by her own admission, the first and only man she ever truly loved. Caloy got himself a job as an account executive at J Romero & Associates, while she kept herself busy at the studio. Once in a while, Caloy would bring work home, because he was not happy with the creative output. In time, she would give her husband suggestions on how to make improvements “here and there” on an ad—and Emily knew then that she could do the job in advertising. So she tried to apply in some agencies, but no one would hire her, perhaps because they saw her as the “dark room girl.” Some of them even used the excuse that her husband already worked in advertising, so they could not get her. Undeterred, she talked to Terry Bueno Javellosa, then the copy chief of J Romero, volunteering to work for free for two months—on the condition that if they thought that she was worth hiring, that they give her a salary at the end of the period. The experiment turned out well, and the rest, as they say, is history.
Emily still has fond memories of her stay at J Romero. Jake Romero, the owner, was a “lovely gentleman of the old school,” Emily remembers. “He loved the work he was doing, was good at client relationships...and [was] personally involved in strategic discussions.” When Emily and Caloy decided, albeit prematurely, to leave the advertising world to try their luck in Palawan, Jake presciently told Emily: “You were born for advertising. You will be back. You must come back.” Interestingly, Jake’s presentiments seem to echo her own proud father’s pronouncements, who told her, “Nana, you will be surprised. You will be famous.” Emily did return to advertising, just in time for exciting and promising times at J Romero. And then Jake died. Soon after, Emily quit and joined a small outfit, Link Advertising. “Nice lovely little agency...small accounts with lovely clients,” Emily describes Link. “But no matter what the size of your ideas, if you don’t have the money to make it happen, nothing will happen,” she points out matter-of-factly. “It was frustrating, but it was enriching...I was introduced to another aspect of the spirit that was very valuable for me.” Her stay at Link was brief because she was later recruited for McCann Erickson by Tessie Tomas, who has the distinction of being the first Filipina creative director of McCann Erickson. The creative process of Tessie was funny, Emily shares. “She was delightful in the zaniness of her work!” It was the late 70’s, and it was also a period that saw McCann as the training ground of future advertising big shots—like Arnold Liong, George Balagtas, Tweetums Gonzales, Pete Cura and Francis Trillana, to name a few. Emily admits that it took some years for her to discover her own capabilities. She acknowledges that she learned a lot from all her bosses, and remembers with fondness the expatriates she got to work with, like David Andrews, Don Dillon, Rey Dempsey and Carl Steinberger. She especially found Don Dillon quite inspirational. A “creative suit,” he raised aware-
ness within the agency about competitiveness. “In those days,” Emily recalls, “McCann was already a good agency, but no one aspired to be Number One.” Because Don was very entrepreneurial, “he opened us to a different standard,” she relates, and credits him for preparing the agency to win the San Miguel account, then the largestbilling and most prestigious account in town. Don also changed paradigms within the agency by breaking long-held taboos: he was the first to fire an unreasonable client, and the first to pirate top talent from a client. Emily was most appreciative of Don’s strong belief in the talent of the Filipino. He claimed that Filipinos were as good, if not better, than their counterparts in the New York office.
“The creative...is a mysterious field,” she says. “The creative process is a God-like process. You create something out of nothing...You are exercising your highest gift, to be like God.” “You would mop the floor with those guys,” he would declare. Whether true or not, Don Dillon certainly inspired the entire agency, and empowered all employees to aim for the top. As Emily matured in the business, she appreciated more and more the creative process. “The creative...is a mysterious field,” she says. “The creative process is a God-like process. You create something out of nothing...You are exercising your highest gift, to be like God.” This, she feels, is why many in the advertising industry—including clients themselves— are drawn to the creative product, and the people who make it. Emily observes, though, that today’s young creatives have no patience. “They’re too instant,” she says. “They want you to say ‘it’s great’...but the craftsmanship is sorely lacking.”
Emily also notes that the juniors are quite adept at accessing information—and inspiration—via the Internet. “I was never a ‘reference’ person,” she admits. Nevertheless, her most joyful moments were, and continue to be, brainstorming with young people. “There’s a lot of unnecessary ego today,” she states. “You have to crush the ego for true creativity to come out...There’s a lot of humility involved in the creative process. It’s the understanding of how you can make your work better.” “A good idea does not always come in its perfect state immediately,” Emily continues. In her experience, a good idea requires work, re-work and more re-work, and some time for it to be realized. To the young creatives, she offers this nugget of wisdom: “You don’t write an idea for yourself.” She also poses a rhetorical question: “Why will a client pay all this money [or advertising]? For what? To get you an award? Shame on you.” A successful ad for Emily is one that is culture-building. She finds it a positive development that even clients nowadays are very conscious about how they portray women, especially in beer commercials. “Even [the late] Fernando Poe Jr. was very aware of how women should be presented,” she reveals, referring to the series of commercials that the much-loved and iconic movie actor starred in for San Miguel Beer a few years ago. And among the many campaigns that she has been involved in, she says that she is “proudest of work that brought in sales. That is the whole objective of advertising.” As for scam ads, “I try not to think of them,” she says. But she adds, “I think they do damage.” Aside from the strength of an idea, Emily is a strong believer in the strength of the presentation. In fact, Emily is highly admired by many industry creatives for her presentation skills. This includes veterans like TBWA’s Jimmy Santiago, who has been quoted wishing that he “had the polish of Emily Abrera in public speaking.” november-december 07
PROFILE OF A LEGEND Living legends Emily Abrera and Piyush Pandey
John Doner, McCann W W chief appreciates Emily
It has been said that when she enters a room, Emily’s projection becomes larger-than-life, and she “owns” the room. For Emily, however, the presentation is simply an exercise in “energy.”
When Emily and Caloy decided, to try their luck in Palawan, Jake presciently told Emily: “You were born for advertising. You will be back. You must come back. “It’s not something I set out to do,” she clarifies. “Some of it is reputation; some of it is in people’s heads.” Emily explains the importance of presentations: “It’s the one moment you have clients and their attention is solely on you.” she says. “You’re a fool if you don’t take it.” “There’s a point in a presentation when you know you’re holding them,” she continues, “and you better do something about that attention. [And] it’s the moment you win it!” Emily describes her management style during her time as president, and later as chairman, of McCann Erickson as “affective management.” “It may sound corny,” she says, “but love is a force that is stronger than any other.” Perhaps because of her creative background, Emily also tended to be intuitive in her management approach. Her intuition, she claims, “has never failed me.” The demands of her career also meant that Emily had to balance work and family. Actually, in her case, it was to merge work and family. “You can’t compartmentalize,” she says, pointing out that men have always been trained to compartmentalize their lives. In this instance, she considers herself lucky to be a woman. And her tip to women who want to rise to the top of the advertising world? “Be yourself. Know yourself first.” Yet Emily’s growing stature
in the industry and her status as McCann Erickson’s creative guruin-residence loomed large over the agency’s future. Through the years, it became evident that finding a replacement for an overall creative head from within McCann Erickson was going to be a difficult task. “I was fully aware of that,” she admits. “And honestly, it was also one of the reasons why I wanted to retire early...to make room.” “My name was so synonymous to McCann. Everybody always said, ‘McCann is Emily, Emily is McCann, and I kept thinking about it—this isn’t right for the company...I consider that a failure on my part,” she confesses.
Group McCann’s premier management
But leadership is as much about failures as it is about successes. It is during difficult circumstances that a person’s honesty and integrity—two important qualities for Emily—are tested. For her, leadership is also about giving. “A leader gives first. That is what you are called upon to do,” she says. “There is no such thing as ‘you take’.” Still, Emily can take pride that the McCann Erickson she has stewarded for many years to the top of the billings competition continues to dominate the local advertising scene. Retiring from the agency that she loved has not slowed Emily down; in fact, she still remains in
the game. Until recently the chairman emeritus of McCann’s Philippine office, she is now the newly appointed chairperson of McCann Worldgroup Asia Pacific. “It’s a fresh role that signals a different McCann organization under Kevin Ramsey,” she says. It is also a role that will surely add on to the Emily myth and her singular reputation in the local advertising industry. Kevin Ramsey is the president and chief executive officer of McCann Worldgroup Japan, and oversees McCann Worldgroup Asia Pacific. He has been quoted in industry journals that he prefers a “challenger-agency culture” over a “big-agency culture” in order to be competitive. In fact, on the strategic front, he has shifted the Japan agency’s orientation from mass media to digital, communications planning and production resources. He is also restructuring the agency so that employee incentives are based on performance and not on tenure. Aside from her new role, Emily is preoccupied with selected advocacies, like her involvement with the Cultural Center of the Philippines. She has also taken on a new hobby, taking photographs with a Nokia cellphone, the results of which she quaintly calls her “araw-araw (everyday) art.” Ever the doting mother and grandmother, she keeps tradition in her family by preparing her own pasta and pasta sauces regularly. She learned how to cook authentic Italian dishes from her father. “Cooking,” she states, “is an act of generosity.” At this stage of her life, Emily is quite content and happy with the quiet space that she gets, when she gets it. “Seeing other people happy uplifts me,” she says, and offers the gentle reminder that the purpose of life is “to be a full human being, to be engaged in life in all its forms.” Indeed, it is motherly advice that is as sage and encompassing like a true Earth Goddess.
The Day I Swapped My Dad for Two Goldfish by Neil Gaiman
the words written to interest a child—and adults like me, as well. The pictures, beautifully crafted by Dave McKean were as any Gaiman story would be pictured, dark with that bit of unease. The unease stayed with you as you read on , blending with quiet thrill so you see the goose bumps on your skin. For a children’s story, the wit was delicious. You’d lick it in every page. The storyline flowed like a child’s “ What I did last summer.” It started with a boy, his sister and the mother who left them awhile with a father who didn’t even look up from his newspaper. The boy’s friend dropped by with a bowl of goldfish, two exactly, and the kid found them so fascinating that he’d given up his favorite toys for them. But the friend wanted none of those and reluctantly chose the kid’s dad instead. That started the whole mess—the mother found out, the sister squealed and the children traced the father’s route as he was swapped several times for an electric guitar, a gorilla mask and eventually, for Galveston the rabbit. If you want a break from the cute, the frou-frou, the sweetly suffocating virtue of wholesomeness and for once, be a child again, swap your Beatrix Potter with Gaiman.
“For detached parents, who thought that they connected well with childhood, this is a revelation. And for children who were guilt-ridden from being raised as Roman Catholics, this is salvation.”
ursery rhymes didn’t start out as rhymes from an old woman gone goosey. They were satires of the wicked lives of kings, queens and the socialites of Elizabethan times. Jack and Jill was classic. “Going up the hill” meant having illicit sex. “Broke the crown,” losing virginity. And what do you think Mistress Mary’s garden was all about? Ladybird referred to the roasting of witches. Georgy Porgy was George Villiers, the Duke of
Buckingham who also was the lover of James I of England. Jack Sprat and his wife were the Sun King and Marie Antoinette who were both beheaded for “licking the platter clean,” a euphemism for finishing the royal coffers due to wanton extravagance. Nursery rhymes reek of sex and violence. That they evolved into children’s ditties is not surprising. Children can be very vicious themselves. As my children were when they decided to keep Fleabag, our dog (a unanimous vote), rather than keep their father. Or the time my son obliterated his grandmother with an imaginary gamma ray gun because her heft was taking so much space in the car.
Innocence can be cruel. As penned hauntingly by the king of goose bumps. When Neil Gaiman wrote The Day I Swapped My Dad for Two Goldfish, it was the day he reclaimed fatherhood. He lost it for a while when his son, in a fit of disappointment over his useless dad, exclaimed that he’d rather have a goldfish than a father. The sentiment struck him. It made so much sense. So he immediately wrote the first two lines on his computer. But he only completed the story some years after. (Children can have such a profound effect on grownups that they can cause a major writer’s block.) The story was an easy read,
You will be released. And your children will be relieved. The story is so honest; you’d laugh and bleed. For detached parents, who thought that they connected well with childhood, this is a revelation. And for children who were guilt-ridden from being raised as Roman Catholics, this is salvation. Get the book for yourself. And once you’re done with it, read it to your kid. If you don’t trust your presentation skills, play the CD attached at the back page. It has Gaiman’s unaffected reading. If one day, you find yourself being swapped for a salamander, be happy. You have smart and creative kids. And they may turn out to be much better parents than you can ever be.
Ompong Remigio is the executive creative director of JWT Vietnam. november-december 07
The Allure of the Slow
A vintage Wahl nib in full flex. Var ying pressure on the nib creates thinthick strokes required for copperplate-style writing.
The Stipula La 91
collect fountain pens because I write. I could collect typewriters, but they won’t fit in my handbag, and to hoard word processing programs just seems sad. Utility and convenience are this age’s muses, unsurprisingly so. There are too many of us to please. There must be easier, faster ways. Surely, I don’t want to spend two minutes waiting for ink to dry before I close my notebook. But I do. I also refuse to scribble. Scribbling during meetings is an admission that people are chattering faster than I can think through the chatter. With a fountain pen, I slow down. I form letters deliberately. I add an extra curl to my letter E’s. When I review my The Nakaya Chinkoku. Artists incise layers notes, there are no of red lacquer with a raggedy verbs to housogue (flower of harass me. paradise) motif, which is then filled in with My colsumi or charcoal. lection is approaching a hundred. My imagination stacks the pens like logs, forming a shelter against the onslaught of Blackberried hyperhumanity. One is totally hand-
made, from the body to the nib, by the craftsmen of the Japanese firm Nakaya, in a process that takes months for a single pen. Another is a Waterman 14, from the early 1900s; its body is hard rubber, adorned with two gold bands incised with simple flowers. Yet another is a fetish from Stipula, an Italian maker: a pen designed to stand on its end, with a mechanism that propels the nib outward.
“What I feel in a single moment travels through my hand to the paper, always different from one letter to the next, a series of beautiful accidents in longhand.” It takes me ten seconds to open that pen, and I relish every second. The Pilot Myu is Zen in a pen. Its nib is one with its body, a quill machined out of a single seamless sheet of steel. Pilot still sells the Capless, a fountain pen with a click mechanism just like a ballpoint. Danitrio’s artists sign the pens they create. Writing a story Detail of the Marlen Antica Roma. The shape of the cap is meant to evoke a centurion’s helmet.
with a pen that has its own is a marvelous thing. James Gleick, in an interview after the publication of his book Faster: The Acceleration of Just About Everything says that instead of having more time for leisure, “the more time we save, the more we do.” Oh, so true. No wonder I feel, acutely, the allure of the slow. I want to luxuriate in letters, not dash off notes. I enjoy seeing the nib flex open, the backbone of the letter H widen, the ink pool and subtly darken where the nib lingers at the foot of an M. What I feel in a single moment travels
through my hand to the paper, always different from one letter to the next, a series of beautiful accidents in longhand. Of course, I don’t always get what I want. That is not a bad thing. The A small subcollection of slow is a nice place Danitrio pens. to visit, but I’m too much a human of this age. Neil Gaiman says of his writing Stardust: “I find computers lovely for getting rid of writer’s block, because what you put down is so impermanent; if you don’t like it, you can immediately change it or just delete it. Whereas if you’re writing with a fountain pen, you actually have to think about what you’re doing.” I need both slow and fast, pixel and paper, fountain pens in my handbag and MacBook Pro in my backpack. The trick is knowing when to reach into one or the other. Photography by Michael Fallarme, http://kilks.gallery.artlimited.net/
When she’s not shopping for fountain pens, Leigh Reyes is the executive creative director of Y&R Philippines. Her blog features more pen porn: http://homepage.mac. com/leigh _ reyes/iblog
Different kinds of nibs lay down strokes of different widths.
tvreview shouldn’t come as a surprise since Sterling Cooper seems to be run by oppressive bottled-up WASPs wearing ties. Women (meaning “girls”) make do with a secondary role in the scheme of things. Blacks and Jews aren’t welcome. Cigarettes, booze and extramarital affairs are always welcome and apparently, so are doctors smoking during a gynecological exam. A somewhat amusing angle of the show is its sense of history and the use of real products. In the second episode, aside from Lucky Strikes, Don and his cohorts tackle the problem of the introduction of the ozone–friendly Right Guard Aerosol Deodorant—which to them is a “space age engineering marvel.” Combined with the added pressure of handling a certain presidential hopeful who goes by the name of Richard “Dick” Nixon. As far as I’m concerned, the real star of “Mad Men” is its production design and its incredible attention to detail. It is a gorgeously fashioned period piece, from its immaculately tailored suits and its retro sets pieces to the constant lin-
MAD MEN REVIEWED BY
Manny del Rosario
When you find the time between being busy and pretending to be busy, you should take a look at “Mad Men,” a new TV series from the makers of “The Sopranos.” Set in a New York advertising agency during the early 1960s, “Mad Men” is a drama about the golden age of advertising when men were men and women wore architecturally frightening underwear. As you may well know, every ad agency has its own star. In “Mad Men,” fictitious ad agency Sterling Cooper has Don Draper. A gray-flannel-suit-wearing creative director, with hair Brylcreemed to perfection. In the premiere episode, we find Don struggling with his Lucky Strike cigarette account
when new research and Readers Digest suggest that smoking may cause cancer. Don must find a way to lure the masses to their graves like rats to a river while keeping a close eye on creepy and competitive subordinate, Pete Campbell, who is out to take over Don’s job. Meanwhile, Don’s boss, Roger Sterling, is desperately trying to find out if Sterling Cooper has at least one male Jew employee, to be used as props for a meeting with Rachel Menken, an aggressive, ballbusting Jewish woman with a big department store account that Sterling Cooper is dying to land. The explosive exchange between Don and Rachel while eating shrimp cocktail and drinking
Bloody Mary’s in the agency’s conference room is easily the highlight of the first episode. While the show’s main focus are the admen and the fractured lives they lead, it also sheds light on the struggle of women in the
Thanks to shows like “Mad Men,” television is beginning to feel more like a movie.
gering of cigarette smoke in every scene. Thanks to shows like “Mad Men,” television is beginning to feel more like a movie. It has the character complexity and beauty of a feature film. This show is extremely smart, sexy and will most likely interfere with office productivity.
work place, where sexism and sexual harassment are as commonplace as IBM typewriters and rotary phones. Interesting as well is the show’s blatant use of bigotry and anti-Semitism. Which
Manny del Rosario is a creative director at Ogilvy & Mather Philippines.
Selected by adobo’s editorial board and some of the countr y ’s top creative directors
September 2007 Splash Biolink VCO “Vogue” TVC
Agency: BBDO Guererro Ortega Chairman and Chief Creative Officer: David Guerrero General Manager: Isabel “Belay” Santillan Group Account Director: Ombet Traspe Account Manager: Patricia Lee Creative Director: Trixie Diyco
Senior Art Director: Joni Caparas Producer: Jing Abellera/Idda Aguilar Director: Raul Ona Production House: Provill Post Production House: Roadrunner
At 55, RMN Turns Digital by Crystal Rebucas
every person in the company— public service. Eric attributes it largely to the academic background of the family. Somehow, it was the teacher in their father who fostered the desire to impart knowledge for a greater good. Eric shares managing duties with brother Butch who heads the sales and marketing team and their youngest brother Charley who heads the engineering department. The Canoy brothers literally grew up in and on Radio. As children, the radio station was their own playground. As they grew older, they started taking on bit roles in radio dramas. Then there were the sleepless nights, when they would go from one city to another, to set up stations themselves. The brothers challenged one another, but they rallied each other, too. Today, they cannot deny that their father still watches their backs. Every now and then, he asserts his views, to the point of igniting arguments. Most of the time, he wins. Nevertheless, his sons are no slouches. By now, they know enough to stand their ground against this most experienced opponent.
Coming of a New Age
Forget the fact that Radio Mindonao Network’s founder, Henry Canoy, was not an engineer. He was simply a man with a gift for tinkering with gadgets. He also had two sons, whom he raised in an environment that screamed radio. Soon, they followed suit and continued the RMN legacy. Now 55 years later, the Canoys are proving to the world that Radio is still very much alive.
The Sons Rise
“It started with a passion that turned into a business,” shares Eric Canoy, president of RMN. The business grew to what it is now because the Canoys had a vision that was bigger than the medium of radio, a vision that soon became the North Star of
Eric believes that Radio is a powerful medium that will never cease to exist because it has the greatest reach against TV and Print. Television may get the highest ratings and Print may claim to be the most effective because you can go back to it anytime, but it is Radio that the masses tune into when live coverage on TV is delayed to accommodate ad loads while Print has to wait a day
to deliver the news. Still Radio struggles to prove its worth, thus the need to constantly innovate. “It is our role to make radio exciting,” says Eric. The latest development to hit our shores is Hi-Definition Radio. “It’s moving like crazy in the Unit-
...the Canoys had a vision that was bigger than the medium of radio, a vision that soon became the North Star of every person in the company— public service. ed States. Most have converted to it already and the numbers are rapidly increasing,” adds Eric. With HD Radio—RMN’s 55th anniversary gift to its loyal listeners—FM transmissions will sound as good as the CDs of your favorite songs. It also reduces the vulnerability to reception problems. To add spice to your listening experience, RMN’s HD stations will transmit additional information along with the musical signal. Your HD set will enable you to receive text similar to crawlers. Imagine being able to read “Drink Coke Now” on your digital monitor as a Coke ad is playing. Another brilliant feature is Multicasting. Tune in to one frequency and gain access to three different channels. Your family can be tuned into the same station, at the same time, but you can listen to the latest Top 40 songs, while your parents are switched on to classics, and your brother, on a channel dedicated to sports.
Your FM radio will sound like your digital music players, and your AM will start sounding like your current FM. All you have to do is to buy a digital radio receiver, and these wonderful things will be yours for the taking.
Putting the Handle
“The other thing that probably a lot of advertisers is saying is that Radio is neither here nor there because there have been problems in the area of research,” Eric says. These days, there is more research dedicated to Radio. In a separate interview, brother Butch, who is also the president of the KBP, talked about a nationwide research that showed Radio as indeed the only medium that can say it has a complete nationwide coverage. He adds that the KBP Radio Ad Awards is a great idea, especially since the country’s very first Gold Lion at this year’s Cannes Festival was won with a radio ad. More and more, local radio ads are sounding more and more like bonafide, original copy for the medium, not just a lift from the audio track of a TV spot. The potential of Radio looks very promising, indeed—even more so with industry standing at the forefront of technology and taking the Canoys’ lead into the future.
s people learn to surf the Internet, more and more ad spending is going online. Consequently, US and European magazines are becoming a burden to their parent companies, according to The Economist. “It’s a long, slow sunset for ink-on-paper magazines,” says Felix Dennis, a publishing entrepreneur, “but sunsets can produce vast sums of money.” He recently sold his firm’s American arm, which publishes Maxim, a racy men’s magazine, to Quadrangle Capital Partners, a private-equity business, for a reported US$240M. Consumer magazines are under pressure to adapt. Magazines are expensive to launch, and the cost of drawing and keeping new subscribers are rising. In the US, newsstand sales are weak, partly because supermarkets dominate distribution and shelf-space is in short supply. The Internet’s popularity is hitting men’s titles the hardest. FHM is finding it hard to compete with online porn. In France, America and Italy, the three biggest magazine markets for Lagardère Active, men are switching from magazines to online
mediascape fun services online—like virtual test drives in the Lagardère’s Car and Driver website, and 3D planning tools for interior design in Better Homes and Gardens online. But should a magazine take existing content online or try to do something new for the Internet? Some think themed websites, that use some magazine content but also go beyond, can appeal to a bigger market. “You’ve got to have scale on the Internet, and magazine brands can be limiting online,” says Sarah Chubb, president of CondéNet, the firm’s internet division, which runs a number of
Go Online? services, says Carlo d’Asaro Biondo, the division’s head of international operations. “We have solved the problem in the automotive sector with new web services,” he says, “but no magazine publisher has cracked the problem as a whole yet.” But for readers, many of the advantages of magazines—portability and glossiness, for instance—cannot be matched online. Magazines are not losing younger readers in the way that newspapers are. According to a study by the Ogilvy Group, magazines still appeal to older “baby boomers” and young “millennials”. On the advertising side, magazines are doing much better than newspapers, which are losing to classified advertising online. Moreover, in many genres, such as fashion, readers accept and value magazine ads and even consider them part of the product. Unfortunately, magazine publishers have been slow to get onto the Internet. “Eighteen months ago, the Internet was something they worried about after 4pm on Friday,” says Peter Kreisky, a consultant to the media industry, “but now it’s at the heart of their business model.” Big magazines are doing more than replicating their print products online. While newspapers are simply transferring print journalism to the Internet, magazines offer useful,
Once more, an interesting mix of celebrities from the world of entertainment and sports entered the Big Brother house to vie for Php 1M. Advertisers will be happy now that PBB Fans are glued to their television sets for 70 days as the housemates dwindle in number and as new revelations and more twists are exposed. The house has been a haven for product placements as brands parade themselves in almost every corner of the house and in every activity of the show.
ABC SPORTS OPENS 33RD PBA SEASON
Better Homes and Gardens’ online 3D Arrange-a-Room Tool
“PINOY BIG BROTHER” CELEBRITY EDITION NOW ON ITS SECOND SEASON
portals such as STYLE.com. Some magazine editors are not happy. Anna Wintour, the editor-in-chief of Vogue, is said to have noted the popularity of STYLE.com and asked why it couldn’t be called Vogue.com. (American Vogue will in fact get its own website soon.) Time Inc, in contrast, is limiting its web presence with People.com and with SI.com, its website for Sports Illustrated. Time Inc. cannot compete with the bitchy celebrity gossip that people like on the Internet for fear of tarnishing the brand of People, so it surrenders that advantage to TMZ.com (also owned by Time Warner). Nevertheless, People.com charge advertisers a premium because of the quality of its brand. In June, each visitor to the site looked at an average of 85 pages, compared with 13 for TMZ.com. People.com now ranks among the
The 33rd Season of the PBA opened this October with some exciting changes. First, the basketball stars that took the time out from their teams to represent the country abroad are back with their respective teams. Second, many of the teams are reinforced with rookies composed of familiar faces from the collegiate and minor leagues. Third, the legendary San Miguel Beer team has a new moniker—Magnolia Beverage Masters. On the technical side, the league is now enforcing the rules and regulations of the international circuit. Now when they form a new Philippine Team for international competitions, they can no longer blame any loss on ignorance of the rules. Games are aired on ABC 5, Wednesday to Sunday.
PAY TV GOES ONLINE The Cable & Satellite Broadcasting Association of Asia (CASBAA) launched www. thepowerofpaytv.com, a one-stop Pay TV advertising information resource for media planners across the region. As per a report, the site houses industry research along with TV network data, client case studies and the latest industry news.
The Internet’s popularity is hitting men’s titles the hardest. FHM is finding it hard to compete with online porn. firm’s most profitable monthly magazines. The Internet still brings magazine companies a fraction of what they earn in print. Publishers have found that websites are good at winning and keeping subscribers, but few pay their own way. Even though magazine firms have attractive sites, says Andreas von Buchwaldt of OC&C Strategy Consultants in Hamburg, huge independent communities on the Internet have often already formed, making it hard for magazine brands to achieve leading positions. In Europe, an internet-only brand, auFeminin. com, dominates the women’s category. So what’s a magazine to do? As the Internet takes over the globe, going digital seems inevitable. It’s only a question of when and how one should learn how to hang ten.
According to CASBAA, Pay TV continues to take audience share from the free-to-air channels while regional research shows that Pay TV demonstrably outperforms regional print in terms of audience reach. In the Asia Pacific region, more than a quarter of a billion homes now take the multi-channel option in Pay TV. It is only in Indonesia and the Philippines that the figure lags behind due to sufficient infrastructure, relatively high subscription costs and strong free-to-air competition. november-december 07
mediascape GOOGLE IS STILL NO. 1 WORLDWIDE According to Philippine Star, the shares of Google peaked at $560.79 sometime in the third quarter of 2007, a figure that eclipsed its previous record high of $558.58. This year alone, the company earned $1.9 billion in revenue. There is more money to come as most advertisers increase their spending in time for the holiday season. As the home base of the largest advertising network on the Internet, Google continues its innovative efforts, like its video ads on its equally popular subsidiary YouTube and is dramatically increasing the number of its ads distributed to mobile.
GMA’S WEAPON IS TELEFANTASYA Ever since “Mulawin”, a string of GMA shows in the fantaserye genre has ruled the tube. Now, the TV network has unleashed “Zaido” and “Kamandag”, the latest projects in its telefantasya programming. The new shows carry the hallmarks that marked its previous top-rating shows: engaging characters, eye-popping costumes, imaginative set designs and special effects.
GMA CELEBRATES 20TH YEARS OF PUBLIC AFFAIRS
From only a team of five fresh graduates in 1987, this noble public affairs group of GMA flourished to a department of 500, working for internationally acclaimed shows. Twenty years later and the passion remains the same but there have been revolutionary changes as well, bringing GMA’s news shows to the top of the ratings. Marissa Flores, who joined as a fresh graduate and is now the SVP for News and Public Affairs, credits the success of the department to the values of the organization. Tina Monzon-Palma, pioneer head of GMA public affairs, agrees and adds that public affairs group has not changed its basic principles but that it has grown to an even higher of professionalism. Two of its most notable talents are Jessica Soho and Arnold Clavio who hosted the special retrospective documentary entitled “20: Dalawampung Taon ng Public Affairs” featuring the top 20 public affairs stories from the last two decades.
THE MAKISIG NETWORK
For Men Only, But Women Are Welcome, Too
Market segmentation is a common practice, but it is the biggest segmentation of all that is becoming a hit these days. Indeed, men are from Mars and women are from Venus. It is simply a fact of life. If there are shampoo brands specifically made for men, magazines tailor–made for the male population, product formulations expected to only work for your father and brother, then add to that a Philippine cable channel dedicated to Filipino men. Makisig Television carries the tagline “Panalo Ka! (You Win!)” that clues you in on the channel’s origins. Chairman and CEO Hermie Esguerra has a passion for horse racing, and he stretched the initial idea to encompass all interests male. So understandably, the programming is testosteroneladen, with shows heavy on
sports and masculine talk. Let us skim through some of the notable ones with a lot of promise.
If there are shampoo brands specifically made for men, magazines tailor–made for the male population... then add to that a Philippine cable channel dedicated to Filipino men. Winning is everything, and shows like “Mad About Wheels” and “Ur Sport” help you achieve just that. For the younger set, “Pinoy Gamers” is already a certified hit. Aside from the usual discussion, there are actual simulations of games plus latest updates from the international circuit. Contrary to conventional
GET Interactive sets new standard in product placement and brand integration
No one likes interruptions. This is most especially true for online gamers and video watchers who do not want to be constantly disturbed by ads popping out from nowhere. But GET Interactive, a leading provider of technology-based advertising and entertainment branding solutions, launched AdVenture 1.0 which is a newly developed advertising technology that links viewers of web-enabled
Makisig men: Jake Maderazo and CEO Hermie Esguerra
wisdom, men also love talking. Tim Tayag has “Men Power”, which has a lot to improve on before it can be called a true TV magazine. “Man to Man Talk” with talk show veteran Ariel Ureta is an interesting watch, but “Macho Guwapito” hosted by the irrepressible Rico J. Puno easily gives the former a run for his money. Women can join their men when “Venus Cooks for Mars” is on the tube. Philippine Daily Inquirer’s Reggie Aspiras attests that the best way to a man’s heart is through his stomach. Having chosen to focus its marketing to men gives the people behind Makisig makes it a pioneer in their category. But with the increasingly positive response to men’s-only stuff in other brand categories, its odds of survival are looking good.
video entertainment content to brands and products featured within the content. “This is a dream come true for both consumers and advertisers,” said Rick Harrison, chief executive officer. Now there is no need for consumers on entertainment content to go on a separate search for something that caught their attention. Just click on that particular item or element and then AdVenture does the trick. Before you know it, the details about the brand or product are displayed on your screen, and the brand is never perceived as a distraction from the viewing or gaming experience. AdVenture is currently available for content creators such as music labels, movie studios, TV producers and video game developers that want to integrate products into their entertainment content. One click, this is what AdVenture is all about.
Bringing Presentations to the Next Level
state-of-the-art technology is changing the way corporate Philippines does business. WATCHOUT, a multi-display production and presentation system, lets you combine multiple projectors and other display devices with any standard computer and network technologies to create breathtaking presentations of virtually any size, image quality and resolution. “We believe that the Philippine market is ready for WATCHOUT,” says Mart Miranda, president of Video Sonic Corporate Communications. “We no longer have to worry about image size and resolution. We can now work with just about any venue configurations without sacrificing video and audio qualities. Clients who have tried it only have praise for the final outcome.” WATCHOUT can be used with plasmas, monitors or video cubes to build a unique presentation set, or with video projectors for giant, seamless panoramas as big as 9 x 42 ft. The system utilizes the full resolution of existing display, resulting in unparalleled image quality. Its production computer uses a familiar timeline interface to build the show, then it distributes the media files to the networked display computers that run the show.
“WATCHOUT lets you project on corners without distortion,” Miranda further explains. “We can even wrap the projection around the whole venue. Its built-in mesh-warping geometry correction handles curved screens with ease. You can also layer stills and video, apply transparency, scaling and motion. Also, overlapping projectors are automatically edge-blended, as WATCHOUT accounts for the gap between displays while mixing different pixel densities.” WATCHOUT can manage most still images, video and audio file formats. including PhotoShop, JPEG, BMP, PNG, PICT, Targa, TIFF, MPEG-1, MPEG-2, DV,
QuickTime, AVI, AIFF and WAV. It supports transparency (alpha channel) in both stills and video. It can also create and edit video at any resolution in After Effects, Final Cut or similar software, and mix multiple stereo or surround-sound audio files. WATCHOUT can also add real time effects such as motion paths, opacity, scaling, rotation, colorization, cropping, splitting image, distribution and volume. It can also integrate live video feed from a video camera. The system accepts anything from composite and S-Video to 720 and 1080 HD using SDI inputs, all with the lowest possible latency. You can even input a live PowerPoint file for a wide-screen presentation. As one of the most in-demand multi-display production and presentation systems in the world, WATCHOUT has been used in corporate conventions, product launches, rock concerts, broadway productions, fashion shows, car shows and even government events. Mercedes Benz, HP, Ericsson, Chevrolet, Nintendo, Toshiba, Turner Cable Group and McDonald’s. Locally, Smart, Globe, Philam Life, Honda Philippines, BPI, ABS-CBN Publishing are but some of big corporate names that have used the system. “With WATCHOUT,” declares Miranda, “we are only limited by our creativity and imagination.”
“With WATCHOUT,” declares Miranda, “we are only limited by our creativity and imagination.”
For more information about WATCHOUT and for other production inquiries, call Video Sonic Corporate Communications at 890-7777, 0917-5362741 or email email@example.com or check their website at www.videosonic.com.ph.
Farewell ROSARIO K. CHEW 1925-2007
“Much more than this, I did it my way.” This acknowledged mother of marketing research in the Philippines “did it her way,” not just by breaking the macho glass ceiling at Procter & Gamble where she was its first female manager, but also by pioneering market research in the Philippines. She inspired others to pursue excellence in their own market research companies. The same kind of excellence that she espoused when she established Consumer Pulse (then called Dealer Pulse and Media Pulse) which became the number one market research company in the Philippines, and later on, to be known as ACNielsen Philippines. I didn’t know Rosie (or RC, as I am more inclined to call her) well enough to paint a complete picture of this grand lady of market research. So I borrowed from the testimonies of a handpicked few who paid her tribute to her. Hearing it from them, I came to understand, admire and love even more the woman that was RC. Early on, Rosie clearly envisioned market research as an integral part of marketing, delivering insights, not just data. As the first female manager in Procter & Gamble Philippines, Rosie was feared but respected by the male marketing executives who came her way. One of them was Jimmy Dylliaco, her colleague at Procter and Gamble, and as the former top honcho of Wrigley, was one of the first clients of Consumer Pulse. By listening to Rosie, he learned “Rosie was truly how to revive Star Margarine, then a an intelligent and dying brand. How do you sell a prodimaginative woman, uct that tasted just like what it was and she expected made of—palm oil and animal fat? everyone else to be Rosie taught him to look beyond as creative and as the product, to imagine what it could do, what it could mean to housegood as her.” wives, as well as what other ways he could improve the product. The rest is history—Star became a big P&G brand until it was sold to San Miguel. Dr. Ned Roberto, a marketing educator who wrote three books on market research, is one of the few who immediately understood Rosie. When Rosie retired from Procter & Gamble (then Philippine Manufacturing Company), he and Rosie established Consumer Pulse, Inc., the pioneer market research company in the Philippines. Rosie continued to build other research companies, Dealer Pulse, Inc. and Media Pulse, Inc., while Dr. Ned focused on the academé. When Rosie retired in 1994, she and Dr. Ned set up Center for Asian Research and Development (CARD), a non-profit, nonstock, new generation research agency that Rosie envisioned to address the market research needs of the NGOs. If you were one of those who worked for her, you would most likely describe her as a tyrant, very demanding, difficult and strict. Surely, she was called much worse. Those who failed to know the heart and mind of Rosie attributed her exacting nature to her age (she was almost 60 when I met her), her ethnic Chinese heritage (no offense meant) and the fact that she never married. But Dr. Ned said it very simply: Rosie was truly an intelligent and imaginative woman, and she expected everyone else to be as creative and as good as her. I also came to understand why Rosie shunned the limelight (at least, this was my personal perception). I didn’t realize that humility was very strong in RC, not until Dr. Ned mentioned that Rosie never liked to call attention to her contributions and achievements. According to Dr. Ned, the CARD professorial chair, which they established at the UP
Statistical Center, should have been in Rosie’s name, but she refused. Mrs. Mercy Abad, managing director of TNS Philippines, was a protégé of Rosie. Rosie was a strong mentor who drilled into her the discipline of market research. At Consumer Pulse, Rosie taught her the importance of fieldwork in getting into the consumer’s mind. Personally, I heard of countless tales of Rosie’s kind of fieldwork, visiting the littlest of bakeries in search of good bread, or going to the public market for the best patis (fish sauce), even patronizing a roadside café for its well-known pancit bihon (thin Chinese noodles). Oh, the travails of a field researcher! More than Rosie’s legacy to the market research industry, Mercy refers to the pioneer presence of Rosie, simply by being a working woman. In the 1960’s, only ten percent of Filipino women were in the work force, compared to the current 60 percent. But at ACNielsen Philippines, women always dominated Management, sharing power with a maximum of two men at any one time. Another facet of Rosie’s well-lived life was shared by another P&G alumnus, Ricky Samson, the man who led Rosie to her Christian renewal. Ricky was a maverick and unconventional in his approach to marketing as well as evangelization. Ricky was witness to Rosie’s intelligence. She knew what you were going to say within your first three words! But there was one question that he threw which Rosie can’t answer: “How do you know what God likes? How will God evaluate us? Are you sure you’re going to heaven?” That marked the beginning of Rosie’s quest, which she eagerly “read and researched” as though she were pitching for a multi-million peso research project. Rosie attended Bible studies and led others to it, by sponsoring Bible classes after working hours at the Pulse office in Kapitolyo. And unbeknownst to many, Rosie would go and immerse herself with the less fortunate folks of Puypoy, Laguna. It was in Puypoy that Rosie spent her weekends, amidst the lanzones trees on her farm, doing what she could to uplift the small barrio. Eventually, all her good works helped her find the answers to Ricky’s questions. If there was one person who can truly say that she knew Rosie intimately, personally and professionally, that would be her longtime executive and personal assistant, Meng Detiquez. Both were strong women, but with different personalities. Who could have guessed that Meng—in mini skirt, high heels, low neckline, a cigarette in one hand and puffing smoke into the air—could have hit it off with Rosie, the grand lady in her coiffure and well-tailored dresses? They had their share of fights and reconciliations, and they remained friends to the end. To her last days, Rosie never forgot her “family”, the people who worked in market research. Many of them came to her memorial, all living testaments to her hard work and contribution to the industry. As Nonoy Niles, the president of ACNielsen Asia Pacific, said, Rosie would always ask him, “Kumusta na ang mga bata (how are the kids)—si Feddie, si Gladys?” as if asking about beloved nephews, nieces and grandchildren. More than just the grand lady of market research in the Philippines, Rosie was truly our mother. —by Susan J. Macion
Susan J. Macion is the client service director of The Nielsen Company.
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On a production set, she is the authority. Whether on location or studio, onstage or arena, where the lights shine is her domain. Her days are blessed with 24-hour productions, and if she’s luckier, it is seven days a week.
delina Leung is a production designer. This particular lady barely reaches your hips, and has physical attributes not quite ordinary. That however is not why she cannot be ignored. Leung creates a miniature world, a virtual lifestyle or a stage spectacle to fulfill a creative production. She constructs from a concept. She makes an idea materialize. If a production set is required, advertising agencies, events groups and production houses knock on her door. Amazing feats, considering her built and physical frailties. Ade Leung is impervious to perceived limitations. Leung admits production design was not her first career choice. She experimented with advertising photography with Raul Montifar for four years. Not even advertising photography, although it was top of mind after graduating from the Uni-
versity of the Philippines’ College of Fine Arts. “Photography was a viable option because I cannot draw. Digital was not yet around. Even my thesis was through photomatix.” Upon uttering these words, she lets out sheepish laugh, “Now, they know how old I am.” Her stint in advertising photography was not stellar. It was, in fact, shaky. Leung’s interest was in fashion, and she was shooting products which was not her forte. Not willing to budge just yet, an insistent friend convinced Leung she could “hack the job” of a production designer. Starting with Del Monte Kitchenomics, the lowest low-budget project she has handled, Leung hung on for five years while the TV show aired. Ten years as production designer, and having found her niche, Leung is making an extraordinary impact in the industry.
dropped even if you were brilliant in your last project. Dwelling on past glory doesn’t work. The next project is always as crucial. adobo: What keeps you going as a production designer? Ade: Production design is very visual. Of course, everyone has their two cents on it. The PD should come up with a strategy that can handle the visual that is cohesive of everyone’s taste, aesthetics, budget and creative intent. Advertising is full of super creative people with lots of ideas on what beauty is, the transition from drawing board to execution. That’s the scariest stage, especially if I haven’t done it before.
adobo: What is the scope of work of the production designer (PD)? Ade: In Hollywood, art direction is part of production design. In the Philippines, it depends on the project. Most of the time, the PD ends up as a mere props provider. I am design-driven, so my scope of work depends on the project, taking into consideration style and budget, and the time period the project requires. I
PowerAde like working with people who believe in my design, so I also consider the director. Young directors like Stephen Ngo, Sid Madarazo and A/F Benaza are very particular with design. When you review their work, you will notice that design is integral (to their work). But this trait is not particular to a young generation. Check out Jun Reyes who has been doing this since the 90’s. Production has many surprise numbers. By hook or by crook, you have to deliver. If you are faint-hearted, you will not last. adobo: Why the career shift from photography to PD? Ade: Money was the only drive to shift. In advertising, you work hard, and you have to get paid for it. Now, I am in a position to choose projects, but I don’t like to turn down any project. You really have to balance because advertising is fickle and vicious. You can easily be
adobo: How does your job compare with your counterparts from other countries? Ade: In advertising, technology is in postproduction. As a PD, my work ends when shoot ends. Post-production is for my own benefit to learn from because that contains the special effects!
“How do you build a set when the plywood has been recycled 15 times? Feeling ko, Jurassic!” Here, equipment is my frustration. How do you build a set when the plywood has been recycled 15 times. Feeling ko, Jurassic! We still do not have power tools. The technology is not progressive enough for production design. Wardrobe is good, but we still cannot compare with Bangkok where sourcing is better and malls close later. In Europe, everything closes early, but then, style-wise, we’re influenced by US trends, not European. adobo: The beauty and benefits of your trade? Ade: I have no “finest moment” yet, even
though my personality is not humble. I am very confident with my craft. Even before I go to a feasibility, where OPM (Oh, promise me!) is rampant, I have already done research. My team is my strength. For props, I have Net Madrid, who is a veteran. Kahit imposible, she won’t say no. My wardrobe stylist is Debbie Singson who’s only 24 years old and very hip. The current trend is a bit of vintage and modern, so with them balance is achieved.
Metrobank. Direk Stephen Ngo. The material speaks for itself. A designer 's dream and nightmare!!
factors. It could be the location, director or the budget. adobo: What inspires your work? Ade: I love to travel, and I do so every two to three years. You get inspired through feeling and seeing for yourself. My recent memorable trip is Greece, the Athens Olympics. I got to watch a tennis match where Mary Pierce won. Innsbruck, Austria is a favorite place, and would like to return for another visit. adobo: Would you recommend this career? Ade: Of course! But the pressure is nakaka-pikon (frustrating). Like for TV productions, it’s a no-no to cancel—you make it happen, no matter what. As a PD, I’ve been blessed, I am happy that I have a job that I really love, that’s a bonus! The job is interesting and always challenging, walang project na boring. Being
“Sometimes the Client or Agency would request for change of outfit for the lead talent, or perhaps a more colorful set of potted plants for the background, and there was Ade and her team, ready with around five more options. Proof that a little far-sightedness can go a long way.” A great PD must have good taste and the ability to execute, declares commercial director Thiery Notz, who admires Leung’s extreme pride in her work. The latter, never satisfied with the obvious or the normal, would ‘search beyond the first idea or solution and always try to create something better. Having a great eye for details, Ade could foresee what might be needed in a particular shot or angle, or spot a potential problem. She always tries to be ready for every frame and its possible variation. Notz credits Leung not only because “she helps me achieve my vision, but also challenges me to do better.” Broadcast producer Steve Vesagas seconds Leung’s own admission of confidence. He first worked with Leung on a low-budget AVP–she came highly recommended by Marivic San
Max. Direk Thier y Notz. I like the filmic quality, and the period feel
Colt 45. Direk Stephen Ngo. I like the challenge of having to do a windowless set. It relied heavily on practical lights
adobo: Will you ever tire of being a production designer? Ade: I would love to stay on as long as possible, though age might get in the way. The creatives are getting younger and younger, and I’m getting older. There’s a fear of getting outdated. The cruel reality is becoming tanders (Filipino slang for old). I recognize that characteristic in some projects I’ve done. That’s why I want to teach Production Design. Mingling with young minds gets me updated. I want to teach to address a vacuum, to reach out to a new generation. It’s through teaching that you can tap new talents and provide assistance to those with potential. adobo: What’s the worst experience you’ve gone through? Ade: A nightmare for any PD is being unable to provide a prop. That would put your reputation on the line. It has only happened once, and hopefully, will never happen again. It is emotionally draining, but it made me tougher. The most difficult may be the Colt ad with Bamboo as talent. The set was claustrophobic. But, all projects pose different challenging
Nescafe 3 in 1. Direk A /F Benaza. A challenge of using existing location to do set, plus i like the Havana feel.
a PD is 90 percent mental and 10 percent physical. Industry people who have worked with Leung sing her praises. Danz Holandez, creative director formerly with FCB and JWT who has worked with Leung a few times, remembers how well-oiled Leung’s machinery always was.
Kotex. Direk Sid Maderazo. The challenge was to design a bedroom that would look interesting as a hurricane passed through it
Juan, formerly of First Multi Media. Vesagas was struck by Leung’s passion, regardless of budget and tight deadlines. Vesagas says, “She’s creative, outspoken and very opinionated with what she thinks is right and what she believes works better. I admire people like this, especially from a producer’s standpoint. She’s not afraid to think otherwise, and always challenges what is considered the usual. To top it all...she has taste!” With Sid Maderazo of 88 Storey, the feeling is mutual. “Ade is one of the best PDs I’ve worked with, very passionate about her job and it shows in her work. She is very opinionated and headstrong with design issues, but I can respect her for that because she knows what she wants. She gets down to the tiny details and is meticulous in every frame, constantly looking at the monitor, checking every detail and flaw of the set, costumes, even hair and makeup.” That Leung exudes an undeniable talent, a command of her profession, emanating from such a small, imperfect frame is inspiring. Perfection can be found in her production designs. And that alone makes her awesome! november-december 07
JWT, O&M, FCB, DDB, TBWA, DMBB, BBDO, etc.
by Cid Reyes
odic inspection trips to his branch don’t know if this custom of office in Boston, Chicago, and christening agencies with other cities. There he would quiz plain initials is unique to our employees on their command of industry, but I have yet to see grammar, check their appearance lawyers’ offices, doctors’ and and deportment. At one picnic of a dentists’ clinics indulging local advertising client, he scolded in alphabets. Curiosity and his people for sipping highballs and fascination for advertising thereby soiling the agency’s image.” greats led us to a bit of research about the men behind the letters. So consider this article Advertising Oh, Dear Legends 101. Founded in 1891, the most Since the Fifties, for instance, celebrated agency, aside from the letters JWT were practically JWT, was BBDO or Batten, Barton, synonymous with the Philippine Durstine & Osborne. It was deadvertising business. (Outside of scribed by one wit as sounding like those who worked with the agency, a trunk falling down a staircase. hardly anybody knew who the Bruce Barton was “a best-sellmysterious adman was.) ing author and confidant to presiAn ideal source of infordents...and was well-known mation for advertising legto the general public, ends is the book The Mirprobably the only adman ror Makers: A History of whom the average American Advertising citizen could identify and Its Creators, by as such. This excepStephen Fox. tional visibility made Here we read: him a symbol of the JW Thompson: “James Walter Thompadvertising business The captain of industr y was son promoted magazine and a spokesman for its really a Marine advertising from the purposes...He was drawn agency side of the business. to advertising by happenBorn in Pittsfield, Massachutance. For the Salvation Army, setts, in 1847, he grew up in Ohio, he coined the slogan ‘A man may where his building-contractor be down but he is never out.’ In father had gone to build a bridge one planning session, he made the across the Sandinsky River.” acquaintance of After serving in the Marine Alex Osborne, Corps, Thompson joined Carlan adman from ton and Smith, an agency selling Buffalo, New advertising space. Encouraged by York, and Roy the sales from his ad solicitation, Durstine, a he eventually bought the agency former newsfor $500, and renamed it J Walter paperman who Thompson Company. Because the had worked BBDO’s Barton: advertisers needed a staff to do their briefly in one The first famous ads, Thompson hired writers and agency (Calkins ad man artists to do the job, thus forming & Holden) and then started his the first known Creative Departown agency in New York. In 1918, ment in an advertising agency. Durstine and Osborne asked him While J Walter Thompson, to join in a new agency. In only a the agency, continued to prosfew years, BBDO had grown into per under competent leadership a major agency with two hundred through the next century, J Walter employees. Now ensconced on Thompson the man, did not quite the seventh floor of 383 Madison come to a glorious end. It was with Avenue, it shared the building with dismay that we read what WG another agency, the George Batten Woodward, who went to work with Company, established since 1891. the agency, wrote: In 1928, the two agencies merged “Somewhere along the road to to form BBDO.” success, he had mislaid his mind Y&R is John Orr Young and and had to go thereafter without Raymond Rubicam. Both Young it. He had not done any thinking in and Rubicam worked in two ad years. Thompson would make periagencies, Armstrong and NW Ayer.
“The two men stitute the knowledgeand their families foundation of every became close friends. advertising executive/ One day in the spring creative who has of 1923 Young and Rujoined the industry. bicam went for a walk It was Ogilvy who and, considering their taught us how to assets—‘clients none, manage an agency, cash meager, hopes how to get clients, high’—they decided to how to keep clients, launch their agency. how to build great Raymond Rubicam of Y&R “Raymond campaigns, how to Rubicam stands as a persuasive illustrate advertisements and postargument for a great-man theory ers, how to make good television of advertising history. No one has commercials. All this should sound ever gone farther in advertising by familiar to anyone who has kept his standing apart from his times and dog-eared copy of Ogilvy’s books. The book Mirror Makers If you think TBWA stands describes him thus: “He was every English for Messrs. Taylor, tweeds-and-pipe Englishman with Burton, Walter and a lifelong fascination for America; a Adamson, think again. celebrated copywriter from a copy making his own self-defined way. research background. A self-proIn the Depression decade, with fessed snob with a patina of Oxford other agencies failing and cutting culture, he displayed an incongrustaff, Rubicam drove his agency ously uncertain grasp of grammar from nowhere to second place and spelling. He wrote his most in annual billings, behind only J famous ads on the image tradition, Walter Thompson.” but craved identification with the FCB is for Emerson Foote, claim tradition. A man of definite Fairfax Cone, and as for Mr. Beldpungent opinions, never reluctant ing, no information has as yet to express them...He worked in surfaced. The agency was estabadvertising, that most characterlished in 1943. istic expression of modernity, but Fairfax Cone used to work in sojourned among the Pennsylvathe agency Lord & Taylor, under nia Amish and then retired to a Albert Lasker, regarded as “the twelfth-century French chateau.” advertising king!” When Lasker While much is known about liquidated his stock for $10 million, Ogilvy, hardly anything is known three of his men reopened the about the other letter, M. It stands agency as FCB. “Lasker wanted the for Mather, which was originally names in alphabetical sequence, from the partnership of Mather but George Washington Hill of the American Tobacco Company, makers of Lucky Strike, a client of Lasker, insisted that his account executive, Emerson Foote, be listed first.” See, even then, agency people were billing-conscious. The agency is now known as DRAFTFCB.
From Chef to Copy Chief
In the Sixties, he was proclaimed “the most spectacular agency man in the business today.” The man is David Ogilvy of O&M, himself a product of great advertising. His two books: Confessions of an Advertising Man and its sequel, Ogilvy on Advertising, were his main instruments for proselytezing the gospel of advertising. They con-
David Ogilv y literally wrote the book on advertising
thebiggerpicture & Crowther, a venerable London ad agency, where Ogilvy’s older brother, Frances, worked as an account executive. Ogilvy had been hired by the agency on the merit of a pamphlet titled “The Theory and Practice of Selling the Aga Cooker.” Not a well-known fact is that prior to joining advertising, Ogilvy had been a chef at a Paris hotel and, when his family summoned him home, he became a door-to-door salesman of cooking stoves in Scotland. Ogilvy went to New York in the late Forties to start his own agency. With $6,000 of his own money and major capital from Mather & Crowther and another London firm, SH Benson Ltd. he set up what he called “a British advertising agency in New York.” Recalled Ogilvy, “I didn’t have the brains to be a historian. Of all the things that were open to me, advertising was the best. It’s the only thing in my whole life I’ve been any good at.”
er.” DDB’s approach to marketing relies on “insight into human nature, respect for the consumer, and the power of creativity.” While still copy chief at Grey, Bernbach sent a memo to his boss, the first sounding of themes he would repeat for the rest of his career: “I’m worried that we’re going to fall into the trap of bigness, that we’re going to worship techniques instead of substance...I don’t want academicians. I don’t want scientists. I don’t want people who do the right things. I want people who do inspiring things...Let us blaze new trails.” In the Nineties, the Philippine ad agency Jimenez was affiliated at first with DMBB, and later on with D’Arcy, whose founder was WC D’Arcy, who once served as chairman of the board of the American Association of Advertising Agencies (AAAA) in 1934. DMBB was D’Arcy, MacManus & Masius, Benton & Bowles. The two B’s were William Benton and Chester Bowles, who ran one of the hottest radio agencies in the US in the 1930s. They had met while working at BBDO and opened for business just before the stock market crash in 1929.
To Be the Wonder Agency
Bill Bernbach: One of the “crazy ones” honored by Apple
DDB, or Doyle Dane Bernbach, started its operation in June 1949. Ned Doyle was the account man, Maxwell Dane handled administration and finance, and Bill Bernbach was head of Copy. “A copywriter with a sense of design, an acute judge of competence and nurser of artistic egos, and—especially—an inspired teacher, Bernbach was the most innovative advertising man of his time. More than anyone else, he invented the creative revolution of the 1960’s. Among DDB’s celebrated campaigns were those for the Polaroid camera, the El Al Israel Airlines, and a small German car called the Volkswagen, i.e. ‘Think Small’ and ‘Lemon.’ (To give credit where credit is due, these Volkswagen ads were the work of the creative team of Julian Koenig, copy, and Helmet Krone, art, with the counsel of Bernbach.) “The campaign passed on to other creative teams, but the style of candor and mild iconoclasm remained its hallmarks.” There was also the campaign for Avis Rent-a-car “We try hard-
of different cultures, the healthy frictions and the thrust that comes from diversity,’ as chairperson Tragos later stated in a company publication. ‘We started out our company...with the crazy idea that because we were from different nationalities and because we had all worked internationally, that we would develop the first advertising agency, but an agency made up of three European and an American and would expand internationally.’ During the 1990s, Omnicon merged TBWA with other top creative agencies like Chiat/Day and Hunt Lascars. No wonder that, in 2004, TBWA was named by Advertising Age as Global Agency of the Year.
client contact, and a gift for driving sharp bargains. Nobody underestimated him.” Under the leadership of J Marion Harper, Jr in 1960, McCann evolved into a conglomerate: McCann-Erickson, to handle the domestic accounts: McCannMarschalk, a second “traditional” agency: McCann-Erickson Corp, intentionally to handle overseas offices, and Communications Af-
Pinoy Ako, Pinoy Tayo
In the local scene, however, the two initials that still come to mind are the defunct AMA and PAC. Not named after personages, the letters stand for Advertising Marketing Association and Philippine Advertising Counselors. Indeed, the men behind the letters still cast a long shadow in memory—Messrs. Antonio de Joya and Antonio Cumagun. In more recent years, the few initialed agencies have been PLW (for Pena, Largoza, Wilwayco) SLG (for Singson, Lascano Group) and PCV (for Pitargue, Comia, Villaruel). Multinational agencies now proudly bear the names of their Philippine partners, thus: TBWA\ Santiago Mangada Puno, DM9 Jayme Syfu, and JimenezBasic of the Publicis Group.
If you think TBWA stands for Messrs. Taylor, Burton, Walter and Adamson, think again. It is, in fact, a merger between Tragos American Management, Bonnange French Marketing, Wiesendanger Swiss Creation, and Ajroldi Italian Client Services. Founded in 1970 in Paris, France, they were purchased in 1993 by the Omnicon Group, the world’s largest agency What’s In a Name? holding company. McCann is Harrison King McBut there is, in fact, a personCann. (When the sister agency HK age behind each of those mystifyMcCann opened in the Nineties in ing initials. From the company Manila, we thought it was a Hong history, we learn that: “TBWA was Kong franchise!) founded by four men who had all “A tall, laconic Scotch-Irish worked as European executives Yankee from Westbrook, with advertising giant Young Maine...McCann ranked & Rubicam, Inc. William with Lasker and Resor G. Tragos, a St. Louis(of JWT) as a builder born American of Greek of ad agencies...As descent who spoke five head of his own shop languages and was (started in 1911) Mcknown for his strong, Cann took no part blustering personal in the production style, had been Young & of advertising, said H K McCann was a real man, Rubicam’s general manlittle in meetings, and not the Hong ager in the Paris office. seldom wrote a memo Kong office He was joined by Claude or business letter...He disBonnange, a Frenchman who liked giving orders, resigning specialized in marketing research, accounts, or firing people. If he Uli Wiesendanger, a Swiss citizen promoted a man to vice-president who headed up the creative end and heard complaints from others of the business, and Italian Paolo passed over, he was liable to make Ajroldi, who was put in charge of them all vice-presidents. As a result account management in the new his agency, more than any other, was enterprise. The agency’s name overrun with people holding that was derived from the initials of title. But beneath the soft-spoken the four founders’ last names. The courtesy, he had a hard Yankee founders hoped to tap ‘the richness shrewdness, a deft touch at top-level
filiations, offering research, public relations and sales promotion services. But as for Mr. Erickson? Despite Google and Wikipedia, not much has turned up. Leo Burnett founded his agency in Chicago in 1955. From the book The Trouble with Advertising: A View From the Inside, we read: “Since this was the depths of the Depression, Leo always kept a bowl of apples in his reception area to remind himself and others what they’d be selling if they weren’t successful at selling advertising. Leo, a squat, homely, single-minded advertising genius, died in 1971, but the apples
remain. So does his legacy, a determination to base every campaign on ‘the inherent drama’ that is to be found in very product.” The famous Saatchi brothers are Maurice and his creative director brother, Charles, who founded their eponymous agency in London in 1970. Astonishingly, in the Nineties, the founders were no longer part of the agency. (The story is much too complex to get into this article.) The brothers eventually set up a new agency named MC Saatchi. Whether we know them by name or their initials, these pioneers and iconoclasts remain the inspiring lodestars in the firmament of world advertising. CID REYES is a writer, painter, art critic and VP corporate communications director at Ace Saatchi & Saatchi.
privateview cents and values
the impermanence of our existence on earth. I think we need these little pauses once in a while, so our thoughts and feelings can soar heavenwards, which is our ultimate destination.
November Musings and Ad Icons
From sober-sad to sober-happy: The school semester just ended. Every year, as part of the final workshop in my senior classes at the Ateneo de Manila University, my students drew up what I call “Advertising Icons in my Lifetime.” The following “instant recalls” represented the popular choices: From Raphael C. Parel: Fita’s “The Fairy” by Lowe Philorbid as it may be, November 1st is drawing closer, and a few of our friends in advertising are mourning ippines. This is one of the best commercials the recent passing of their loved ones. (In the case in recent history, if not, in the whole history of Philippine advertising. of one esteemed colleague, he died despite not being The one who formulated the concept is a genius. grievously ill.) He was able to produce an advertisement that can be used as a In the four separate occasions, after the deaths perfect textbook example about conceptualizing TV commercials. It of Eileen Araneta’s father, Joey Venezuela’s wife, was quick (only 30 seconds), attractive, intriguing, hilarious and easily Francis Trillana and Rosie Chew, many advertising friends saw one remembered (because of the witty punch line of the advertisement). It another in vigils and wakes throughout the city. was able to evoke the brand equity (the product being If you think about it, the widest so good and satisfying to the consumer that the man gap seems to exist between advertis...the widest gap seems to only willing to give half of his last Fita to the hungry ing and death. Perhaps it is because exist between advertising and ishomeless crone/fairy) and to reinforce the branding advertising, by its very nature, death. Perhaps it is because (with the wrapper as the focal point). trumpets jubilation and sustenance It’s interesting to point out that there was no actual of life. Advertising pushes products advertising, by its very nature, tagline in the advertisement, only a text smiley to convey to maximize the lives of brands, trumpets jubilation and goodness of the product. It can connote the outstandafter all. Let’s face it. Advertising can sustenance of life...Advertising the ing humor of the commercial itself or the smile it can put even extend the life of dying brands can even extend the life of on the faces of consumers when they buy the biscuits. This beyond their natural obsolescence. dying brands beyond their just amazes me even more, since majority of advertiseDuring these sad times, we ments need copy in supers to support the message...It fully meditate on our mortality, pondering natural obsolescence.
by Nanette Franco-Diyco
icture this: a “miracle” cream that can make all kinds of scars on your body disappear within weeks! You want proof? A protracted segment shows this squeaky-clean-looking (and sounding) lady showing her scar on her arm from an accident. She applies the miracle cream, supposedly over a period of several weeks, and presto! The camera splits in two, showing her arm with the scar, and the other half, purportedly the same arm, this time, without any trace of the scar. Amazing! But wait! They’re not done yet! And this one’s for Ripley’s, too. A pair of corrugated sandals with tiny electric wires sticking out from it, and connects to a small contraption, is supposed to massage the wearer’s nerves and glands. What centuries of medical science has not been able to accomplish, this pair of flipflops claims it can: increase the wearer’s height by several inches in just a few months. If it weren’t so infuriating, it would make for great comedy. As it is, this qualifies as one of the greatest scams in human history, taking advantage of the power of broadcast media and the gullibility of many television viewers to peddle some of the boldest, barefaced lies since Eve lost us Paradise. I’m talking, of course, about these so-called infomercials that are now a popular moneymaking filler for TV channels with nothing better to show. These shrewdly crafted TV commercials take advantage of the viewer’s weaknesses by constantly,and incessantly repeating the same mantra of promises. They parade professional-looking endorsers to promote their products—doctors, scientists, athletes—you name it, they’ve got someone with the proper letters attached to their names to back their claims. Then there are those magical pills that are being sold as cure-alls for all kinds of diseases. These assortment of tablets, capsules and potions promise anything, from growing your hair back to turning your skin smooth and fair, from curing your gout, liver disease and ingrown toenails to rejuvenating your drooping sex drive—or whatever else might be drooping in your life. There are many forms of infomercials invading the airwaves, from television’s shopping-on-air programs to radio programs touting the latest trends in “natural” or “herbal” supplements. And believe you me, these companies are making a killing, both in the tills and, most likely, in the number of gullible patients who have had to forego medical treatment in lieu of these
logic and magic
Wondering about wonder cure by Bong Osorio
products that promised to cure them of cancer, or even of AIDS. I certainly have no quarrel with new discoveries in the way of natural or herbal medicines...if they are found to be truly efficacious. The benefits of virgin coconut oil seem to be on every diabetic’s, rheumatic’s, arthritic’s, and all other -tics’ minds these days, what with the endless barrage of testimonials and endorsers swearing by the wonderful effects of these new and not-so-new elixirs. I have no doubt that VCO, as it is now popularly called, may come in handy for me one of these days. I suppose I shouldn’t be too bothered about the proliferation of these infomercials, really. As a democratic and capitalist state, people are supposed to be making responsible choices. PT Barnum is proven right every time: a sucker, or two, is indeed born every minute. If these infomercials were trading a bunch of lies, why hasn’t anyone done anything to stop them from ripping off the gullible audience? Isn’t there any government agency or institution that is supposed to be monitoring and checking on their claims? What happened to truth in advertising? Good questions, all of them. Although, technically, these infomercials get away with it because, if you look and listen close enough to what they’re saying or claiming, they’re really not claiming anything that is fool-proof, or they might be saying it in such a way that there’s always a loophole somewhere.
privateview exemplifies what an ad should be. From Rachel Garcia: Globe’s “Katrina” by Harrison Communications. The name Katrina has been tossed around significantly in our lives. For most, they think of the hurricane, but for me, I think of my favorite Filipino commercial, Globe Telecom’s “Katrina”...I admire this commercial so much because it has all the qualities that make an ad successful: simple, unexpected, relevant, and most of all, impactful. I can only imagine how many emotional buttons it hit and how it caused parents to take a closer look at their children and appreciate them. More than just selling the brand, it gave the audiences a great story, and like a child’s fairytale, it is not easily forgotten. It is so real...the emotions elicited are so strong that it manages to get the selling idea through so clearly without boldly flashing the brand. Even more amazing, it was able to cater to both the older and younger audiences…Stories of real life are undeniably the greatest stories ever told. From Amos Francia: Jack & Jill Chippy “Rehearsal” by Harrison Communication. Bravo! It is wonderfully modern but still Filipino. It is marvelously timed, and the characters are refreshingly imperfect and uncontrived But then, the excellent timing enlivens them. When the choreographer says, “Dudukot ka; ibigay mo. Dukot ka; abot mo,” he does the actual moves and syncs with the background beat. The great timing can also be seen in how the folk music begins with a high-pitched note at the moment the male dancers smile. It’s as if everything—the utterances and movement—is following a constant beat and measure, like a brilliant piece of classical symphony, and a fun and light symphony, at that. Indeed the tagline of Chippy is sent across magnificently— “Life’s fun!” From Micaiah F. Tan: McDonald’s “Karen” by Leo Burnett. No other TVC exhibits family like McDonalds’ “Karen”...Every time I remember this
commercial, I can’t help but reminisce about my own grandfather. (While all my younger cousins lived abroad, I became his favorite, since I was the youngest grandchild in Manila.) I simply love this McDo commercial because it’s a perfect reminder of my meaningful relationship with Angkong (grandfather, among the ethnic Chinese). Being an old man, it was not surprising to see his memory get rusty. He would interchange all my cousins’ names, but never mine. Thus I was, and still am called, Angkong’s favorite. From Meggie Valdes: Childhope Asia Philippines by BBDO GO. My favorite ads are, hands down, the ones for the most recent Childhope Asia Philippines campaign. They manage to convey a simple message with so much clarity. I especially love how the ad fights for a real cause, instead of selling another pair of shoes, another shampoo, or another “created need” for society. I also love how this ad rises above the clutter, yet manages to touch your heart at the same time. This ad steers away from the solemn and nakakaawa (pitiful) faces of street kids, and chooses to show us a real portrayal of these kids. In this campaign, Childhope’s discriminator is brilliantly executed by a very stable advertising idea, and this, in my opinion, is what makes the advertisements so strong and iconic. It’s indeed more than a happy note for me to see the great ad choices, each and every one coupling marketing effectiveness and values. These advertising management students are likely to venture into the exciting ever-changing world of advertising. May their tribe go forth and multiply. NANETTE FRANCO-DIYCO is a faculty member of the Ateneo de Manila University and the University of Asia & the Pacific. She also writes a weekly advertising column in the BusinessWorld and a bi-monthly marketing column in the Food & Beverage World Magazine.
Consider the claims of these weight-loss machines. They don’t outright say, “Use this super gut-reducer and lose 20 pounds.” Instead, they say: “using this super gut-reducer together with a low-calorie diet can make you lose 20 pounds.” In the case of health supplements and purported cures for various diseases and ailments, they get away by claiming, precisely that: these products are food supplements, not medicines. For as long as they do not claim to be medicines, they do not need to be certified or approved by the government.
“There are many forms of infomercials invading the airwaves...And believe you me, these companies are making a killing, both in the tills and, most likely, in the number of gullible patients..” These manufacturers and marketers peddling these infomercials are really raking it in, and many of the hapless, guileless audiences are parting with their hard-earned pesos in exchange for empty promises. How do we rectify the situation? Government seems unable to do anything. Media outlets say they cannot control content of block-timers, and consumerist groups are unable to exert enough pressure on the purveyors, the outlets, nor the state. The most vulnerable among us are those who stay home and watch these darn infomercials—vain singles, housewives, lonely widows and widowers, homely and problematic teenagers and young adults, and guilt-filled matrons who wish to regain some of their youth. In other words, that’s most of us. Fortunately for us, we have our own antidote for scams such as this: we can all tune them out by changing channels on the remote. But better yet, write a letter of complaint. But then again you ask, to whom should it be addressed? BONG OSORIO is an active marketing communications practitioner, a multi-awarded educator and writer rolled into one. He currently heads the Corporate Communication Division of ABS-CBN, and is a professor at the University of Santo Tomas, as well as a columnist in the Philippine Star. november-december 07
by Willy Arcilla
arketing is a way of life—a philosophy of doing business, so marketing must pervade an entire organization. Marketing exists to enhance the value proposition of a company or brand; product or service to convince prospective consumers to prefer one’s brand vs. the competition; to influence their attitude and drive behavior. Thus, marketing is what any entity must do. Leadership, on the other hand is what any entity must have, so that the Marketing Leadership is when an entity is consistently marketingdriven, consumer-focused and customer-oriented. This is borne out of a deep respect for the principle that the consumer is king. The consumer is the boss, not your superior, because ultimately, the consumer has the power to fire even the Chairman of the Board. If an entire organization exercises Marketing Leadership, then it is bound to produce Leadership Marketing, characterized by sound strategy and executional excellence; salient brands built on strong brand positioning statements; superior or innovative services or product and package offerings; pricing that presents attractive value-for-money (not necessarily cheap); integrated marketing communications using world-class campaigns that are brought to life below-the-line via experiential marketing
events; and availability that provides the right product or service at the right time, at the right place and in the right quantity. Ultimately therefore, a company characterized by Marketing Leadership produces Leadership Marketing in the marketplace, which then leads to the ultimate reward of Market Leadership for a brand.
12 Principles of Marketing Leadership
1. Do your homework. Study. Read. Watch. Learn. Listen. To the 4 Cs—consumers, competitors, customers, company—Sales, R&D, suppliers, friends and even foes. Be market-oriented, consumer-driven and fact-based. Know global best practices. Study the history of your industry, company and brand—those who do not appreciate the past are doomed to repeat it. Do your SWOT. 2. Invest in research. If you think the price of education is expensive (i.e., Research), imagine the cost of ignorance. But while research is vital, it can only facilitate, not replace decision-making. I believe in research but not in researching everything, because gut feel, judgment and wisdom improve over time. Apply research to segment markets and focus on the most appropriate segment to attract. 3. Take it to the next level. In all aspects of the marketing mix. Get better every year and every day. Live the Olympic spirit: Faster, Higher, Stronger. World-class marketing is “Excellent quality at cyberspeed and at least cost.” Andrew Carnegie said, “Learn to say ‘No’ to the good, so you can say ‘Yes’ to the best!” 4. Reinforce brand equity via excellent marketing programs and communication campaigns that build on strong brand positioning statements which are important, specific and unique for consumers and anchored on in-depth insight that is superior to the competition. Classic examples that have crossed boundaries and endured time are Marlboro’s “Come to where the flavor is. Come to Marlboro Country,” Singapore Airlines’ “Singapore Girl—A great way to fly,” Nike’s “Just do it,” Intel’s “Intel Inside,” Mastercard’s “Priceless,” the Absolut Vodka bottle, Avis’ “We Try Harder.” Visa’s “All it takes” and Fedex’s “We deliver” are great regional campaigns. Locally, we have Safeguard’s “Skin-Germ Protection,” Alaska Milk’s “Walang tatalo sa Alaska,” Jollibee’s “Langhap Sarap,” San Miguel Beer’s “Iba Ang May Pinagsamahan,” and Surf’s “Wais si Lumen.”
5. Reinvent your brand constantly—but without losing your brand’s essence or DNA. Sterling examples would be Apple’s “Think Different” mantra (Mac, iPod, iPhone), Nike’s “Just do it” and Adidas’ “Impossible is Nothing,” McDonald’s “I’m loving it,” and Levi’s latest Copper Collection. The key is delivering the same message but in a refreshingly new and relevant way. 6. Do more with less. Focus on raising productivity of your budget. Demand world-class, effective advertising from your creative agency. Require cost-effective strategies, plans and buying from your
9. Take calculated risks. Learn from mistakes as much as from successes. Even John Gokongwei is happy with one homerun out of five “swings” at bat. When in doubt, test with consumers. Learn from mistakes committed by others, e.g., physicians conduct post-mortems or mortality conferences if a patient dies in their care so other physicians may learn from the experience for future reference. 10. Expand your horizons. Think beyond your industry to learn and “practice” your principles because you are talking to the same consumer. For instance, if you are engaged in the FMCG industry, study marketing and communications campaigns of fashion, retail, real estate, banking, pre-need plans, media, telecommunications (service or units), automobile and transportation, or appliances. Go beyond your borders. Travel to advanced markets and spend time observing consumers. I guarantee you will learn immensely for local adaptation. 11. Leadership. Bring out the best in your people to enable them to bring out the best in your brands. An ex-colleague at P&G once advised, “The happiest manager is one who has under him managers more able than himself.” 12. Integrate and synthesize. All components of the business and constituencies of your organization. If you wish to master marketing—be a salesman, a promotion girl, a merchandiser. Go on sales training to gain experience and respect from your sales force and trade customers. Understand the principles of manufacturing and engineering, purchasing, warehousing and logistics. Work with your Finance & Accounting by knowing your P&L, balance sheet and cashflow statement. These are the 12 principles of Marketing Leadership that will produce Leadership Marketing and ultimately redound to Market Leadership for your product or service.
...a company characterized by Marketing Leadership produces Leadership Marketing in the marketplace, which then leads to the ultimate reward of Market Leadership for a brand. media outfit. Restore credibility in advertising via advertising that sells or “work that works.” Turn PR into a competitive advantage because it is more credible vs. commercial advertising. Bear in mind some brands do not even have any advertising (Starbucks, Google, Viagra and The Body Shop). Forge strategic partnerships with complementary products/brands to maximize synergies, cross-sell and share costs. 7. Think creatively. Offer creative solutions to a variety of marketing issues and business problems. For instance, when Pepsi lost the US cola wars to Coke, they turned their attention to non-carbonated beverages, buying Gatorade and Tropicana, and tying up with Unilever for Lipton tea and with Starbucks for Fraps. As a result, they were able to convert their failure in colas to success in Non-Carbs, Frito-Lay’s savory snacks and fastfood (KFC, Pizza Hut, Taco Bell). 8. Priorize your options. Apply the basic principle of economics, i.e., optimum allocation of scarce resources. Pick your battles. Be decisive. Which geography do we compete in? Which industry, category, brand? Which do I priorize among the 4P’s, ATL vs. BTL, Production vs. Media, Consumer vs. Trade promotions?
WILLY ARCILLA had a rather unique career in Marketing, Sales and General Management, having managed a total of 50 brands under 24 product categories over 22 years. Now, he is president of MarketMentor and partner and regional director of ZMG Signium Ward Howell, Inc.
GAME KA NA BA? The Ad Agency Edition Ad people often complain that movies and TV shows love to portray them as glam but stressed out divas. Now, they’re getting a chance to set it straight—on a game show where they’ll be glammed and stressed out anyway. Ten contestants from the ad industry are competing for P1 million on the top-rated “Game Ka Na Ba?” Namely, Mike Garcia (O&M), Diday Alcudia (DM9 JaymeSyfu), Lilit Reyes (blackpencil), Marci Reyes (TBWA\ SMP), Francis Chua (McCann Erickson), Rio Jorolan (McCann), Tanke Tankeko (Creative Juice), Carlo Christian Clemente (Blue Bottle), Darwin Bamba (Harrison Communications) and Patrick Miciano (BBDO GO). They were chosen from 24 suits, creatives and planners who auditioned for the game show, hosted by Edu Manzano. Their episode was taped last November 19, for airing on November 21 (which coincidentally is the first day of the Philippine AdCon). Interestingly, it was Edu Manzano’s stint as the host of the last Agency of the Year Awards that started the whole thing. During the evening, the AOY executive committee had a blast thinking about how ad people would behave if given a chance to appear on TV. “We said wouldn’t it be fun to see advertising people join some of these game shows on TV? We cracked jokes about it and that’s when it all started. I told [ABS-CBN Marketing Head] March Ventosa, who was at the next table,” explains McCann Erickson President Nandy Villar. “After a few days, [he] called me back to say that the network also thought it would be a fun thing to do so I pursued it.” “GKNB” airs on ABS-CBN, from Mondays to Saturdays at 12 noon.
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thevietnamspecial VIETNAM’S AD INDUSTRY
In Mint Condition
The killing fields have turned into green pastures. Likewise, Vietnam’s 13-year old advertising industry has never been as vibrant and progressive as it is now. // The market is considerably young. As a result of the huge casualties from the Vietnam War, a good 52 percent of the population are below the age of 30. // The past few years have seen a steady influx of global brands setting up business. Movers and shakers from the communications industry have come from all over. In fact, TBWA, Bates and BBDO have recently set up offices. Expatriates have filled up key positions in top agencies. Here, Filipinos have become very much in demand. // The fruits of peace are quickly ripening, and Vietnam is growing a bastion of gifted advertising, brand and communications experts.
This phrase best describes the working relationship of Lowe’s co-ECDs and real-life partners, Brandie Tan and Tin Sanchez. Barely two months into their ECD-ship, the couple won the Philippines’ first Cannes Gold for their work on Lotus Spa in JWT Manila, where they were both creative directors. Two years earlier, they were a just a creative team under David Guerrero and Raoul Panes in BBDO. The partners were recruited by no less than Mariles Gustilo, managing director of Lowe Manila. Brandie, a 30-year old art-based creative, and Tin, 28 years old and the writer of the team, were the youngest ever to take the creative reins at Lowe. Asked whether their subordinates respect them despite their relative youth, they say in unison, “We hope they respect us!” “Seriously though, they do listen,” Brandie asserts. “Even our clients really listen to what we have to say. We’re still learning the ropes. But we make it a point to align first before criticizing the work of our teams. We use a lot of Tagalog in this case.” Tin adds, “We apply a bit of parenting here. You know how parents aren’t supposed to fight in front of the kids? Well, Brandie and I have agreed never to disagree on
He Said/She Said? More Like “His & Hers” anything in front of our staff. It’s easier ‘cause we practically have the same taste on almost everything.” According to Tin, they learned the art of compromise. Like dutiful spouses, they give and take, respecting each other’s opinions. Expected to “uplift the quality of the work” for big brands such as Omo, Sunlight, Lifebuoy, Rexona, Nescafe, Nestea and J&J, Brandie says they do have a lot more on their plate now. “Before, it was just about the creative work. Now, we have to look at the numbers. Manage people. Manage emotions. We’ve undergone training, sat with the different departments. You know, to sort things out. Everything about Vietnam is new to us. Meeting new clients is exciting.”
Tin laughs. “Even going to the grocery is an adventure now. Getting lost is fun!” At the end of the day, age doesn’t matter. It’s genius and passion that count. And with a Gold Lion as a veritable wedding band, genius and passion keep these two united and strong.
Woman on Top
Katr yna’s office with a view
had a promising economy back ho says women then. But there were no struccan’t have it all? tures around. No support system. Katryna Now, if you look around, a lot has Lim Mojica defichanged. The market has grown nitely found it and is growing still.” all in Vietnam. For Katryna, there has never Barely four years in O&M been a more opportune time to be Vietnam, she was made the in Vietnam than now. Though the managing director of Vietnam’s government controls all 64 televi“highly recommended agency,” sion stations, the media landscape as published in Campaign Brief is nevertheless getting prettier. Asia 2007. This young achiever “One of our clients, Mediastar, became head of the Vietnam ofbuilt a cinema in Hanoi a year fice at age 38! She first came into ago. And plans for a second, and the Vietnam agency as head of even a third, are Client Services. “When I first came here, already underA year after, she what struck me the most way.” was promoted to was the absence of Dailies general manager. the malls...Now, if you and magazines Before that, she look around, a lot has and was a top suit in changed. The market has abound, Vietnam is the Manila office. grown and is growing still.” dubbed the When second largest market for mobile adobo’s Angel Guerrero visited phone marketing (after China). Katryna, they met at her top floor The Internet is a favorite medium office in Ho Chi Minh, which had that, according to Katryna may a magnificent view of the Saigon be largely attributed to Vietnam’s River, and the receptionist offered homey refreshments like Vietnam- young population. “They just love to interact and ese ice coffee and iced Milo. share information.” Katryna shared, “When I first Mindshare and Starcomm came here, what struck me the are just two of their many most was the absence of the malls. media partners. No cinemas. I mean, Vietnam
From L: Mahesh Neelakantan (Ogilv y Action), Alex Clegg (Planning Director), Tom Notman (ECD), Danny Phan (Ogilv y Public Relations), Katr yna Mojica (Managing Director), Nguyen Trong Duc (Finance Director)
Though production budgets are comparatively small to those of Manila clients, Vietnam has a handful of production and postproduction outfits that can meet agency standards, as Katryna confirmed with their agency’s latest reel. On Tony Yi and Tim Notman, her previous and incumbent ECDs, Katryna opines that both have their own strengths and weaknesses. “Nowadays, when you say ECD, people have so much expectations. They have to be a
good creative, a good manager, a good leader…He has to be good with clients…I mean, a person, good at everything? That’s asking too much. See what they’re good at, and allow them to be good at it.” She attests that Vietnamese generally have good work ethics. In fact, majority of O&M’s workforce are locals. “They’re quick workers. They’re easy to deal with. So long as you give them ownership and you let them enjoy what they do, they’ll really go the extra mile for the company.” november-december 07
hey’ve got problems at the Vietnam office. We think you might be able to help,” or words to that effect, was how they persuaded me to take the Vietnam assignment. Not that I needed much persuading. Vietnam was a place I’d long been curious about. I was to leave ASAP. It being December, there was little time to clear out my room, accomplish my holiday obligations and bid family and friends goodbye. On the 10th of January 2000, I arrived in Saigon (I could not bring myself to call it by its official name, Ho Chi Minh City), prepared for anything but boredom. They took me directly to the McCann office on Vo Van Tan Street in District 3, an area that reminded me of Ermita.
One hundred forty three days in Dhong Koi by Ompong Remigio This is the most expensive street here. Where my office overlooks the red roofs and the cathedral from the most expensive building in Ho Chi Minh. It is amazingly serene compared to Makati where the sense of urgency runs in the bloodstream.
Memories of Saigon by Kathleen Mojica
The old, white, threestorey villa was a pleasant surprise. Such a charming edifice, with its high ceilings, terraces and sweeping staircase. The frank, open smiles and curious gazes of the Vietnamese staff welcomed me. I felt like a local, looked like one. In markets, vendors spoke to me in their language. I didn’t go around in a car. I walked or rode taxis and occasionally took the cheaper alternative of the xe-om (literally, “ride-embrace”), which entailed sitting on the back of a motorbike, unhelmeted, holding on for dear life as the driver wove dangerously through motorbikechoked streets. The first house I lived in was in a not-too-pretty part of town. My housemate constantly lamented its ugliness. It certainly was something to email friends about. In my bedroom, for instance, there stood in a corner a strange, glass-enclosed, wardrobe-like contraption, which closer inspection revealed to be a shower. There were the numerous keys, large heavy padlocks. Unlocking a padlock sometimes required maddening contortions of arms and wrists. I once spent all of
one hour trying—unsuccessfully— to let myself into our house. One rainy night, as my housemate and I dined at home, engrossed in conversation, we noticed that the downpour had gotten distinctly louder, like it was raining inside the house. It was. Water flowed in rivers down the stairs, from the upper floors to our living room. A virtual indoor waterfall, brought on by clogged drains on our fourth-floor terraces. My first weeks at work were a neverending series of meetings, most of them to do with some client problem or other. It took a while to acquaint myself with the people, the accounts and the issues. It was difficult enough remembering names—they all sounded the same. We had guys named Thien, Thinh and Tien, and Maung, Aung and Bong. Soon, I got the hang of
“I occasionally took the cheaper alternative of the xe-om (literally, “rideembrace”), which entailed sitting on the back of a motorbike, unhelmeted...” it and was expertly pronouncing Thuy as Twee, Nguyen as Wing and Thong as Tome (with cheeks properly inflated as locals do). To be suddenly flung into a small, financially strapped office of only about 30 (from an office of 300 people) was a terrific lesson in doing without, multitasking, self-sufficiency and accountability. Turnover being high, I was con-
stantly searching for people and interviewing applicants. Work was often frustrating and unfulfilling, but not without its moments. Truly talented art directors and copywriters were rare but when you did find them, it was like discovering jewels among bagatelles. There was that one year we made six new business pitches and won four, profitless wins though they turned out to be. Nevertheless the experience was memorable and taught lessons in cross-cultural teamwork. Life outside work made up for the lack of satisfaction in that domain. Even with much to claim my attention at work, there was always time for books (I was in a book club for four years), trips, films, yoga, dinner parties, concerts and plays and ahh…spa treatments. I’ve been back since 2006, yet I still sometimes hanker for Cha Ca Hano and Banh Xeo, remember idle afternoons at La Fenetre Soleil, Saturday mornings at Binh Siam salon, evenings at Qing, Q or Casa Latina. Saigon was where I tasted the best food in the world, met the most stimulating assortment of people and made lasting friendships. Often confused with fellow Vietnam vet Katryna Mojica, KATHLEEN MOJICA can be distinguished by her long career as creative director in McCann Erickson. She is now a managing partner at the radio ad boutique Hear! Hear!
But my life is not as quiet. I have packed schedules. Work comes like a loop. Like an extended mix with a reprise. But at least there’s a different song to sing, in a different pitch. The chance of going off-key is always there. Yet it is fascinating to be here. That sense of freshness somehow never runs out. Awkward, naïve at times, the place is full of promise. Growing pains can be painfully chronic. But then again, next year will be a different Vietnam. I have to let go of my previous comforts. And some of my previous self as well. This is the Discovery Channel. And I am in every episode. I still miss home. But I can’t deny that I can be at home here. Undergoing reinvention. That beats growing old. And getting fat as well. JW T Vietnam ladies enjoys Ompong’s Centerfold in adobo magazine
OMPONG REMIGIO, formerly one of the more riveting fixtures in Philippine advertising, is the new executive creative director of JWT Vietnam.
BBDO Vietnam Takes Off BBDO Asia, an Omnicom company, officially launched its operations in Vietnam last August 8th with a rockinspired block party. The event took place in the courtyard of BBDO’s new office located in “The Refinery” area of Ho Chi Minh City. BBDO Vietnam began operations in May, and is housed in a converted villa located in downtown HCMC. “It was fantastic to be able to celebrate our opening with such a large assembly of BBDO friends from other offices and some of the biggest names in the region,” said David Smail, ECD and head of BBDO Vietnam. Smail was JWT Vietnam’s ECD before Filipina Ompong Remigio took the reins. “I’m digging the industry in Vietnam a lot these days,” Smail added. “There’s a real energy going through quite a few of the agencies. And I think the catalyst for this has been some of the new,
more creatively focused shops opening in town like ourselves [BBDO] and TBWA. “It seems a lot of the good Vietnamese creative talent are seeing more opportunities in the smaller shops to make a name for themselves. And because of the talent crunch, it’s bringing more people from other industries and locations into the mix. Which is always a nice shot in the arm for a creative field.” Observing the Philippine contigent, he remarked, “One has also got to recognize the massive contribution that the influx of many Filipino creatives is having on the development of the industry. And at the risk of perpetuating a stereotype, the live music in town is getting a whole lot better, too.” Chris Thomas, regional chairman and CEO, said “We have experienced growth across the region that has increasingly asked that we grow our footprint. Vietnam is an important step for us. Guided by our Fonterra win last year, we are now looking to develop the office into another creative hotspot of our region. In David, we have a strong creative leader and our regional cli-
Heavy metal, rock, house, trance, classical—name it, Sunny Hermano’s got it. This music junkie has about 87 music genres stored in his iPod! A DJ by night and general manager of Sung Huong Orchid by day, Sunny used to be the executive vice president for Lowe Thailand. Then after a short-lived consultancy for Lowe Manila, he upped and left for Vietnam to start his own brand communications company. This former New York DJ has a different spin on things. For one, his office, which he prefers to call a boutique, is practically a spa. Chill-
out music fills the reception area, providing an extremely relaxing, conducive-for-work atmosphere. A true urbanite, Sunny’s nightly jaunts to Ho Chi Min’s coolest bars and clubs clearly provide inspiration for his office’s interior design. “It’s all about ambience. If you put someone in a messy room, you can’t really expect that person to take you seriously. But once you put someone in a funky room, that person’s going to start believing that he’s also funky. I want my clients to give me a call and say ‘Hey, let’s meet in your office.’ “It’s not just about being cool.
ent base will be well served by him and his team, as we secure their business in that market.” The opening party saw BBDO Vietnam’s clients, friends from other Ho Chi Minh City agencies and production houses as well as over 30 top creatives from BBDO and Proximity in the region. Among them were BBDO Singapore’s Danny Searle, David Guerrero of BBDO Guerrero Ortega, and Suthisak Sucharittanonta of BBDO Bangkok who were in town for a four-day creative workshop.
It’s about making people feel that they belong in that room. Making the staff want to come to work. “I even asked staff members for their favorite colors and used those in various office rooms.” Although relatively small, his agency boasts blue chip clients such as VISA, Air Asia and L’Oreal. Many of his former clients in Bangkok bring their brands to town and seek his services. “Being able to speak Thai helps a lot. We do a lot of pitches and now there’s a different feeling because now, we’re also working for ourselves. I really put my heart and soul into every pitch. There’s a different rush, whenever we land an account.” Full of contagious optimism, Sunny and his partners aren’t daunted by the arrival of the multinationals. “We have a clear picture of where we’re going. We do activation, events, concerts, in-store, out-store, motor shows…For activation, my latest baby is something I call ‘Orchid Symphony’. Guess it’s [from] my being an audiophile. Using the power of music to market brands. Bringing in DJs and organizing parties. Like this launch for this bar called DOSE. Communication’s something like ‘get your dose of cool vibes, your dose of drinks,
your dose of music’…with Orchid Symphony. “I admit, not all clients are gonna grab it ‘cause some are really set in their ways. I mean, they go for the usual stadium concerts and all. But we want to offer something different. Something exclusive. We’re doing a lot of pitches and we’ll see.” Another thing Sunny wants to push aggressively is graphic design. “I’ve got this terrific Burmese designer.”
And like everyone else, Sunny wants an international award. “At this point, we don’t have a name yet. Awards will expedite a good reputation.” With his cool take on marketing, Ho Chi Min’s young set will definitely get any brand’s drift. november-december 07
Love Affair with the City launch his latest brainchild called “Inchi”, Indochina’s first creative awards show, which stands for India, China, Myanmar and Laos. “We’re really excited. The city has much to offer and we’ve a lot to offer in return.” Before TBWA, Birger Linke was ever-so-briefly the former co-ECD of Ompong Remigio at JWT Vietnam.
Birger Linke loves the city!
He’s head over heels in love with Ho Chi Minh. Birger Linke, TBWA Vietnam’s ECD, is so enamored with the city’s chameleon-like market. “This is a fast-changing market. Whenever I walk down the street, I see something new. The possibilities are endless.”
“People here have started embracing Western ideas and international brands. They are more open to new ideas, new ways of doing and approaching things...That’s why it’s easier to sell ideas to clients here.” The very young populace makes for a very impressionable market. One that welcomes new lifestyles and trends with open arms. “People here have started embracing Western ideas and international brands. They are more open to new ideas, new ways of doing and approaching things. They’re even more open than the Singaporean market. They’re hungry for information. That’s why it’s easier to sell ideas to clients here. In fact, you won’t run out of pro-bono opportunities here.” Perhaps the only downside Birger sees is that clients have to be convinced to do TVCs outside of Vietnam. “There is no telecine here. Standards are not yet at par with the rest of the region. Since advertising is so new, some clients have yet to reach that level of sophistication for them to distinguish good productions from sub-standard ones.” Together with partner Joe Wong, former activation director for JWT Malaysia, Birger is set to
Family Man On The Block Luis Morelos has never been happier. Formerly with McCann Erickson Manila, Luis hopped on the expatriate bandwagon a little over a year ago upon the invite of JWT Vietnam’s Steve Bonell. Now group account director, Luis considers himself very fortunate. “The upside of working in Vietnam is the fact that the market is so open to new ideas. Although the industry is still in its formative
Creative Circle Vietnam Mr. and Mrs. Luis Morelos
stage, requiring lots of handholding, the market is growing at a very brisk pace. Here, we have the chance to help mold and shape the market’s tastes and preferences. The opportunity to create various needs in them is very big. Work here
“...I have to admit, another good thing about being here is the fact that the agency is deserted at 6pm!” is very stimulating! And I have to admit, another good thing about being here is the fact that the agency is deserted at 6pm! Now, I have more quality time with my family than I ever did back in Manila.” Unilever, Pepsi, Ford and Miller are some of Luis’ major accounts.
In a sleepy country like Vietnam, a knitting circle may feel perfectly at home. Surprisingly, so can The Creative Circle. This loosely knit group of advertising people, mainly creative directors in Vietnam who come together on the last Friday of every month. Rick Reid, ECD of Aktivation, the man who organizes the gatherings said, “We show awards “By exposing local reels or similar” which according creatives to award to those who attend, “ is also a winning international good excuse to have party and work, we can raise drink lots of beers!” our own creative Reid tells us his motivation standards to make for the Creative Circle, “AdverVietnam a true tising in Vietnam is still in its creative force in Asia.” infancy. The industry is a mere 14 years old. It is a responsibility of the international creative directors here to encourage, educate, and nurture local creative talent. Vietnam has a long cultural history of creativity, especially in writing and visual arts But not in advertising communication.” For an unofficial group, they proudly have a mission statement that reads, “By exposing local creatives to award winning international work, we can raise our own creative standards to make Vietnam a true creative force in Asia.” In early December, The Creative Circle, together with Vietnam Marcom, is staging The Big Show, an exhibition of the best creative work that has come out of Vietnam agencies during the year. The main players of this informal group are David Smail, ECD BBDO; Steve Hough, ECD Saatchi & Saatchi; Rick Reid, ECD Aktivation; Tom Notham, ECD Qgilvy; David Lester, Chairman Leo Burnett; Paul, ECD Leo Burnett; Sam, ECD Bates Asia; and Jonny Edbrooke, ECD 365 Days.
CREATIVE SHOWCASE \ VIETNAM
Ad Title: “Mother’s Love” Agency: TBWA\Vietnam Advertiser: Vinamilk Creative Director: John Merrifield Art Director: Marge Albito
Ad Title: “Smooth Bump” Agency: JWT Vietnam Advertiser: Ford Creative Director: Birger Linke Copy writer: Le Quang Duc Art Director: Nguyen Tuong Hung Account Director: Tarun Dhawan Photographer/Illustrator: Teo Studio
CREATIVE SHOWCASE \ VIETNAM
Ad Title: Autan “Stop Scratching” Agency: JWT Vietnam Advertiser: Johnson Creative Director: Birger Linke Copy writer: Le Quang Duc Art Director: Nguyen Tuong Hung Account Director: Joe YC Wong Photographer/Illustrator: Calibre
Ad Title: Friso “Protection” Agency: JWT Vietnam Advertiser: Dutch Lady Creative Director: Birger Linke Copy writer: Nguyen Thuy Khanh Art Director: Birger Linke Account Director: Quan Hai Trieu Bao Tran Director: Kanin Production: Phenomena
View the ads at www.adobomagazine.com
CREATIVE SHOWCASE \ VIETNAM Ad Title: “Alphabets” Agency: Saatchi & Saatchi Vietnam
Advertiser / Brand: Amnesty International Campaign Against Child Soldiers Creative Director: Steve Hough Art Director: Brandy Vu / Sumesh Peringeth Copy writer: Steve Hough Photographer / Illustrator: Nguyen Que Huong Print Production: Mr Tan
Ad Title: Olay Oil Total Effects “Iron” Poster Agency: Saatchi and Saatchi Vietnam
Advertiser / Brand: P&G / Olay Total Effects Creative Director: Steve Hough Art Director: Linda Pham Copy writer: Sumesh Peringeth Photographer / Illustrator: Chuc Print Production: Mr Tan
CREATIVE SHOWCASE \ VIETNAM
Ad Title: Asia Injury Prevention Foundation “Helmet” T VC Agency: Ogilv y & Mather Vietnam Advertiser: Asia Injur y Prevention Foundation Creative Directors: Tom Notman / Quang Chinh Pham Copy writer: Xuan Hien Ngo Director: Tom Notman Production House: Sud-Est Agency Producer: Lan Huong Nguyen Production House Producers: Henr y Phimasset / Jimmy Singh Sound Production: Digipost
Ad Title: Panadol Kid “Snot” Print Agency: Ogilv y & Mather Vietnam (Print Silver, LIA 2007) Advertisr: Glaxo Smithkline Executive Creative Director: Tom Notman Associate Creative Director / Copy writer / Art Director: Richmond Walker Photographer: James Domingo
View the ads at www.adobomagazine.com
november-december september-october 07
oming after a showy act can be a challenge. And Steve Clay faces a tough audience as the new executive creative director of Lowe Manila after the high-flying successes of his predecessor, Raul Castro. The contrasts could not be any more obvious. Raul is very showbiz. Steve is, well, more restrained. There are, nevertheless, high expectations regarding the new kid on the block. “I know very little of him personally,” Steve says of Raul, “but I do know he’s been in Lowe for a very long time.” In the wake of Raul’s departure for McCann Worldgroup, it was reported that he brought with him some of Lowe’s top creative talent. Whatever the impact, it certainly has left Lowe’s new creative boss with less to work with. “I don’t even know who these people are,” Steve avers. And, reacting to the news of Raul bringing a team along with him: “If he did, then great; good luck to him. It’s really not my concern.” If there is one thing that characterizes Steve, it is that he does not dwell in the past. “I don’t like to look backwards as much as I want to focus on the future,” he states. The strengths that he brings to his new job, he points out, is more than just creative expertise. “It’s more to do with the role that I’ve played in the agency as a whole, and what we’ve been able to become,” he explains. “Whether it’s a contribution on winning pitches, or whether training teams, whether it’s delivering more effective work for clients—that’s what really matters.” A native of Canada with English “The Philippines roots, Steve has can compete worked in Asia for in terms of about 13 years, and concept, but has been in the agency lags behind business for almost as in terms of long. The last couple of execution. years have landed him Manila right in Malaysia, Kuwait now reminds and Singapore. His brief interme of Kuala lude in the Middle Lumpur two East was primarily to three years because he was lookago.” ing forward to work with John Foster, who was then the regional executive creative director for J Walter Thompson. However, Steve decided he did not like the Middle East. Instead, he returned to what he now considers home: Asia. Steve is fascinated in particular by the variety of cultures in Southeast Asia despite the relatively small geography. “I like things around me to be less familiar,” he reveals. “It makes things interesting.” “In Asia, what’s great is people from different places coming together and realizing that there may be vast differences between the lot of us because of where we’re from, but we’re really
MOLDING A NEW LOWE IN MANILA quite similar,” he says. Manila, Steve discloses, is not exactly a preferred posting for many expatriate ad men— perhaps due to the perceived lack of global creative reputation of the city and the country. “As a whole,” he says, “you didn’t think of it as a creative hub, not like Singapore…Thailand…or even Malaysia.” Nevertheless, Steve feels that more and more people will be coming to Manila. “I think in the next two to three years this will be a most attractive place to come to,” he shares. “Just from what I’ve already seen from the five, six, seven, eight agencies here, they’re already pushing the envelope.” But beyond attracting expatriate talent, Steve is hopeful that local talent will rise from the ranks, so that there will be no need to tap foreigners in the future. While acknowledging the importance of the creative product that an agency delivers, Steve is ambivalent about the importance of creative awards. “It’s a necessary evil,” he says. “I think awards are extremely imperfect.” “Who doesn’t want an award?” he goes on. “Of course it’s great to receive an accolade and
be lauded by your peers. But if that’s all you’re looking for, that’s pretty hollow.” Creative awards, Steve maintains, have flaws. “Sometimes you see what’s won, and you think, ‘Yup, that really deserves it…’ but then there are other years when you see work that wins, and you think, ‘I saw that three years ago!’ “Some work that’s remarkably fresh gets ignored, some work that’s old [gets the news],” he notes. That is why, in his opinion, there are a lot of award shows because there are so many opinions, and as such, awards tend to be subjective. Likewise, he has something to say about spending for entries in award shows. “I have
Lowe’s new ECD fascinates Manila
a bit of a problem with putting all that money towards an entry,” Steve admits. You know that money could go towards other things—or, in the grand scheme of things, to something more valuable than a statue or certificate.” He concedes that for lack of a better system, creative awards remain the best way to judge the abilities of a person, especially if the person is looking for a job in the creative department. Steve considers D&AD as the best among award shows, with One Show, Cannes and Clio coming second. “I think awards are nice—they help enhance an agency’s reputation, and an individual’s reputation probably more often than not,” he says. Personally though, he feels that his role as a creative head is “more to build business…(and) improve the standard of junior and middle level creatives.” Outside of work, Steve is an avid reader, and likes to travel. His favorite place is the island nation of Sri Lanka. Better known as one of the world’s top sources of high-quality rubies, it is one of the countries devastated by the monster Indian Ocean tsunami a few years back. In spite of the disaster, Sri Lanka retains its allure as a gem of a tropical getaway. Single, unattached, and “feeling 25,” Steve will surely catch the attention of local
“Missing CD” Direct Mail
“Portable CD Players” poster campaign for GP Rechargeable Batteries
“Reading” print ad from a print campaign for Radiology Malaysia
matchmakers because of his “availability.” “I think what one person does for another is to help complete an equation,” he says of personal relationships. “As soon as somebody finds out you’re single, they’ll want to set you up with somebody,” he observes. “The mistake people often make when they try to set you up with somebody is they think if you’re a certain way, you’ll get on with someone who’s just like you!” But beyond developing and getting involved a personal relationship, Steve looks
forward to building a creative reputation for Lowe in Manila. And he has at least two years’ time to accomplish his goal. “The Philippines can compete in terms of concept, but lags behind in terms of execution,” he says. “Manila right now reminds me of Kuala Lumpur two to three years ago.” In his estimation, Southeast Asia’s creative hub continues to be Singapore. In terms of final production, “Singapore is best,” Steve opines, while “Thailand is doing the most outrageous work.” One of the main challenges facing Philippine advertising is the current preoccupation with New Media. “But the traditional (media) still matter,” Steve contends, “as much as they did before, if not more than ever.” He details that the Philippines is a large market that is quite spread out and largely rural, so the importance of traditional media like radio, television and newspapers remains. He feels confident that he can mold a new Lowe that is creatively more responsive and
effective to both agency and client needs. “I was extremely impressed with Lowe because here was an agency that understands about partnership,” Steve says, optimistic of his initial interaction with the agency’s president, Mariles Gustilo, and chairman, the late Francis Trillana.
“The less you know about me, it’s better. The more you hear about Lowe—then I’ve done my job.” Steve is also aware that many people in the industry are watching and would like to know more about the man who will guide Lowe Manila’s creative directions in the next couple of years. But Steve is no showboat, and he would rather not concern himself with the expectations of others. “The less you know about me, it’s better,” he says. “The more you hear about Lowe—then I’ve done my job.” Written by Harry Mosquera with interviews by Angel Guerrero. november-december 07
oes anyone still remember the 1990’s? When ad agencies had a full complement of suits, creatives, producers, strategy and media planners? Back then, 17 referred to the agency’s percentage of the media billings, not the size of their creative department. The media department down the hall was a pleasant neighbor who shared all its freebies with the rest of the agency. And the media network—they threw the best parties and gave the best gifts. Nice people, those media folk. How things have changed. Now, this happy land called the advertising industry is growing increasingly divided over the issue of creative ownership.
In our current environment, “another purpose” could be an activation, an interstitial and interactive campaign—that is executed by another agency, or in a highly publicized case, a major media network. In either case, the creative agency that originated the idea loses potential income. While in the past, advertisers might pay out additional compensation when they extended the use of a campaign into other countries , the same does not apply to their taking it in new media. But Unitel’s chairman, Tony Gloria, saw it coming. He said that for years, the national broadcasters’ conventions in the US would showcase technology, nothing more. But seven years ago, the offerings expanded dramatically. “Everything about media, from software to hardware, from TV to internet. Media owners were suddenly pitching ways that involve the consumer in a dialog…And clients were open to ideas like that.”
However Claire Drueco-Lopez, former ECD of JWT Manila and a managing partner of DYLL, says, “Once an idea is attached to a brand, it pretty much ‘belongs’ to the brand group in that regard— whether or not a contract states it to be so. “But Clients shouldn’t stop seeing these ideas for what they are: as creative materials and should be treated as such and their creators accorded the proper recognition.” She laments, “Creativity, no matter what field you find it in, is not something you can pick up from off the shelf. Yet the industry has evolved to the point where even exceptional creativity is rewarded with more assignments at the same commodity price. “There’s an old saying that goes something like ‘Doing business without advertising is like winking at a girl in the dark.’ Advertisers may have come to think that the cost of lighting up that wink should be just a one time deal. But even electricity, the commodity that it is, is still
Illustration by Arbee Bagabaldo
Creative Ownership Unlike media side of the industry, creative agencies still work under the constraints of work-for-hire agreements with out-of-date concepts of intellectual property, especially where the lines of content distribution blur across advertising and entertainment channels. If you look at the typical agency contract, ad agencies transfer the ownership of all ideas and concepts to their clients. Clients dictate that the agency can’t use their idea anywhere else. But creative agencies can’t control how and where advertiser will use it. As Gilbert Simpao, Unilever’s managing director for Hair, Oral Care and Media, puts it, “There should be a free market for ideas and our brands should have the flexibility to get the best ideas from a wider source of creative agencies. We believe that agencies should be rewarded and compensated well for great ideas. But like in any sales transaction, we expect that we should own and be free to to do what we want with any idea we have bought from our agencies.” There are exceptions, but generally speaking, clients believe that buying ideas is like buying a pencil. Just because the clients use them for another purpose doesn’t mean they have to pay for them again.
“Ideally when the media pitches an idea, dapat ibang-iba (it should be completely original),” Gloria adds. “But the problem is sometimes the client insists on bringing the idea more in line with an existing strategy or format— which they got from their creative agency.” (adobo attempted to get the media networks’ views on the matter, but executives
...it’s useless to complain about how Media has undermined the value of the creative product. Those with a true entrepreneurial spirit know that this is the best time to be a creative agency. from ABS-CBN and GMA Network were either unavailable or unwilling to comment.) Besides, clients feel that their creative agencies have already been handsomely compensated for their ideas. Simpao states, “Our partner agencies are now compensated on a task/manhour basis. This gives us flexibility to get the best or most appropriate agencies for the actual job to be done. ”
compensated for every time you flick the switch on and for as long as it stays on.” In a statement to adobo, McCann Worldgroup Philippines agrees. “We are in the business to create ideas that build business for our clients. If we give up ownership of these ideas, then in effect we have reduced the value of our creative product to that of a commodity that can be purchased and utilized at will for a price. If composers can retain ownership of the music they create and are paid licensing fees by those who wish to profit from its use, why can’t ad agencies likewise be accorded these same intellectual property rights?” Although the issue of creative ownership seems fresh, the problem traces its roots to the day that the agencies unbundled their media department. Once the media planners and buyers were spun off, the agencies not only lost much of the commission—which pays for the creatives, the suits and strat planners—but also a valuable ally. Nowadays, creative agencies see their media counterparts as enablers of the “opportunistic” media networks. Of course, media agencies find that rather unfair. Mindhare’s general manager Bunny
Aguilar explains that they are still allied with their former housemates: “In the spirit of collaboration with creative agencies, we can, at best, enhance the creative idea from creative agencies by providing the agency and the client the channel possibilities of the idea, thereby making all parties realize the potential power and bigness of it. By doing this, everyone definitely benefits.” Creative agencies in the US and Europe are beginning to have a renewed appreciation for their old media department. That’s why new agencies like Mother and Naked Communications have made it a point to integrate once more. Not just with a media department, but with design, CRM, digital experts, too. But it’s early to see whether they will succeed. “It’ll be tough to bring media back into the fold,” opines Gloria. “It’s like the toothpaste once you’ve squeezed it out of the tube. Too late.”
f it makes anyone feel better, the Philippine ad industry isn’t the only one facing this issue. In the US, not only do creative agencies compete with TV networks and digital media owners; they find that newspaper and magazine publishers are entering the fray as well. For the last two years, the US 4A’s has been holding seminars about how intellectual property can be structured and valuated at member agencies. “As advertising has become increasingly about content, agencies are no different from industries like publishing, motion pictures,
video games, music, etcetera,” said Tom Finneran, EVP for 4A’s agency management services, said to AdWeek. “Yet the structures of idea ownership are different. Agencies need to develop their own content and take it to market as a product or service they would license to advertisers.”
"The advent and the unstoppable influence of digital will definitely and drastically change our concept of creative ownership." “Perhaps there is some fairness in extracting the agency fees from the percentage framework—that is, the price of the use of a creative product need not be intertwined with the cost of production or of the media spot.” DruecoLopez suggests, “But rather based on the frequency of use and area of coverage. Pretty much the way the rest of the world recognizes all other creative work—barring piracy.” Agency compensation aside, another question begs to be asked: What is the impact on creative people as a result of these old practices involving creative ownership? If creatives feel powerless and undervalued, then they couldn’t be more wrong.
We at adobo are of the opinion that they still have one ace up their sleeve: the expertise in creating and sustaining brands. In an era when the 30-second spot is fair game, the creative agency’s intimate knowledge of the brand and its consumers is leverage no activation, production house, media agency or media network can use or claim. Moreover, it’s useless to complain about how Media have undermined the value of the creative product. Those with a true entrepreneurial spirit know that this is the best time to be a creative agency. New media are being introduced every year. New ways of engaging the consumer are being created. All they need to do is to grab these opportunities, before anyone else does. In fact, with the changing landscape, even the media agencies and media networks will find it hard to keep new competitors from drinking from their revenue streams. Aguilar explains. “The advent and the unstoppable influence of digital will definitely and drastically change our concept of creative ownership. Not so much among agencies, but more so between advertiser/ad agencies and consumers. Digital allowed consumes to ‘mash up’ ideas so that claiming ownership… will become more of a hindrance to the betterment of an idea than helping it develop into its potential.” The concept of creative ownership is being redefined every day. Once everyone opens his mind to that fact, then he can get back to the business of being truly and powerfully creative.
CREATIVE SHOWCASE \ PHILIPPINES
Ad Title: Caritas Scholarship Fund “Dump” Poster Agency: Ace Saatchi & Saatchi Advertiser: Caritas Creative Directors: Raoul Floresca / Manu Sandejas Art Director: Katrina Encanto Copy writer: Katrina Encanto Producer: Dennis Obien Photographer: Paolo Gripo (DMV) Computer Artist: Rod Alonzo Account Management: AD Hunter
Ad Title: Petron “Transformer” T VC Agency: Leo Burnett Manila Advertiser: Petron Creative Director: Raoul Panes / Alvin Tecson Art Director: JP Cuison Copy writer: Candice Madamba / Raoul Panes Director: Toppel Lee Production House: Reality Entertainment Producer: Ato De Guzman, Lady Cajanding Post Production: Larger Than Life Sound Production: Sound Design
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Ad Title: McDonald’s Twisted Suspense T VC Agency: DDB Philippines Advertiser: Golden Arches Creative Directors: Teeny Gozum-Gonzales / Russell Molina Art Directors: Joseph Velasquez / Argem Vinuya Copy writers: Maki Maquiling / Jay San Luis Director: Henr y Frejas Production House: Filmex Producer: Steve Vesagas
CREATIVE SHOWCASE \ PHILIPPINES
Ad Title: BPI Edge Mastercard “Freedom” T VC Agency: Y&R Philippines Advertiser: BPI Express Credit Executive Creative Director: Leigh Reyes Associate Creative Director: Joey David-Tiempo Art Director: Derrick Periodico / Joel Fabonan Copy writer: Joey David-Tiempo Director: Adrian Calumpang Production House: Provill Producer: Sonny Cruz CG: 422 Post-Production: Optima Sound Production: Hit
Ad Title: Tinactin “Disgusting Fungi “Fish” / “Poo” / “Rat” Poster Campaign Agency: DM9 JaymeSyfu Advertiser: Schering-Plough Creative Directors: Eugene Demata / Merlee Jayme / Jerr y Hizon Art Director: Herbert Hernandez Copy writer: Jerr y Hizon Designer: Allan Montayre Production House: Calypso
CREATIVE SHOWCASE \ PHILIPPINES
Ad Title: Starwax “Floor Plan” Print Agency: McCann Worldgroup Philippines Advertiser: ACS Manufacturing Corporation Creative Directors: Raul Castro / Noel Bermejo Art Directors: Noel Bermejo / Gabby Alcazaren Producer: Gener Aguila Account Manager: Cris Dar Santos Production House: Femar Computer Artist: Jun Pedraya
Ad Title: Greenwich “Fresh” Poster Agency: JimenezBasic Advertiser: Greenwich Food Corp Creative Directors: Don Sevilla III / Noel San Juan Art Directors: Jess Villaruel / Ben Berdin Copy writer: Noel San Juan Photographer: Joey Ibay Print Production: Joey Osorio
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CREATIVE SHOWCASE \ PHILIPPINES
Ad Title: Claritin “Hulk” Poster Agency: Ace Saatchi & Saatchi Advertiser: Shering Plough, Claritin Creative Directors: Cirio Cinco / Jenny Nadong / Raoul Floresca Art Director: Katrina Encanto Copy writer: Katrina Encanto Illustrator: Katrina Encanto Computer Artist: Rod Alonzo
Ad Title: Bed Bar and Club “Drag Queens” Poster Campaign Agency: PC&V Communications Advertiser: Bed Bar and Club Inc. Creative Directors: Ariel Comia / Kat Gomez-Limchoc / Dingdong Baes Art Directors: Ariel Comia / Dingdong Baes Copy writer: Kat Gomez-Limchoc Photographer: Ariel Comia Print Production: Graphis et Amore
Ad Title: Philippine Star “Shave / Coffee / Toilet” Print Campaign Agency: TBWA\Santiago Mangada Puno Advertiser: Philippine Star Creative Director: Jake Tesoro Art Director: Corey Cruz Copy writer: Melvin Mangada Photographer: Neil Lucente / Claudine Sia Print Production: May Dalisay / Karen Parreño
CREATIVE SHOWCASE \ PHILIPPINES
Ad Title: Scholl “ Prayer” Poster Agency: Lowe Philippines Creative Directors: Steve Clay / Ricky Aragon / Mario Serrano Art Directors: Mario Serrano / Rommel Aboy Copy writers: Michael Luchico / Steve Clay Photographer: Allan Fontanilla Producers: Ponse Tolosa / Anthony Dawe Print Production: Roger Rapacon / Michael Logaring
Ad Title: “Tree” Print Agency: Ogilv y & Mather Philippines Advertiser: Brittany Corporation - Crosswinds Executive Creative Director: Eric Yeo Art Director: Lito Gemora Copy writer: Bonnie Doroy / Sarah Ko Photographer: Bien Bautista Print Producer: Nathaniel Figueroa / Allan Bargo Studio Artist: Eloi Aranzamendez (Redworks)
Ad Title: Pepsi Max “ Vendo” / “Alley” Agency: BBDO Guerrero Ortega Advertiser: Pepsico International Creative Directors: David Guerrero / Joel Limchoc / Simon Welsh Art Director: Dale Lopez Copy writer: Meggy de Guzman Director: Mark Querubin Production House: 88 Storey Films Producer: Jing Abellera / Idda Aguilar Post Production: Underground Logic
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CREATIVE SHOWCASE \ PHILIPPINES
Ad Title: "Deliver y Room" Agency: TBWA\SMP Advertiser: ABC 5 Creative Director: Melvin Mangada Art Director: Angela Arches Copy writer: Elvin Bueno Director: Paul Basinillo Production House: Straight Shooters Producer: Francis Bagnes Post Production: Engine Room Sound Production: Soundesign
Ad Title: Bayan “Downloading” Billboard Agency: BBDO Guerrero Ortega Advertiser: Bayan Telecommunications Creative Directors: David Guerrero / Trixi Diyco / Joel Limchoc / Joni Caparas Art Director: JP Palileo Copy writer: Lissa Boluso / Maui Reyes Print Production: Al Salvador / Jet Conception / Manny Vailoces
Ad Title: Skycable “Robber” Poster Agency: McCann Worldgroup Philippines Advertiser: CAT V, Inc. Creative Directors: Dino Jalandoni / Raul Castro Copy writer: Mer vin Ignacio Art Directors: Biboy Royong / Dino Jalandoni Producer: Dan Matutina / Ena Astudillo / Lyle Sacris Account Manager: Mitzie Nacianceno Production House: Gobbledygook Photographer: Juan Caguicla Computer Artist: Ace Gatdula Production Designer: Richard Somes
CREATIVE SHOWCASE \ PHILIPPINES
Ad Title: HSBC “Film Maker /Computer Engineer / Doctor” Poster Campaign Agency: JW T Manila Advertiser: HSBC Future First Creative Directors: Dave Ferrer / Joe Dy Art Directors: Joey Claronino / Carl Urgino / Dave Ferrer Copy writer: Pia Roxas Photographer: Jake Versoza Print Production: Jake Fernandez Creative Director: Dave Ferrer / Joe Dy
Ad Title: PAWS “Black Tie Collar” Direct Mail Agency: JW T Manila Advertiser: Philippine Animal Welfare Society (PAWS) Creative Director: Dave Ferrer Art Director: RJ Alfonso Copy writer: Kara Bautista Print Production: Karen Pilapil
P E R S O N
T H E
Y E A R
The Envelope Please... “Who, for better or for worse, made the biggest impact on the Philippine advertising industry in 2007?”
hat was the question adobo sent out last month to hundreds of movers and shakers in local Ad-landia as part of the magazine’s Person of the Year poll. Some respondents gave in-depth reasons why they chose such-and-such; others merely replied with a name and left it at that. After tallying all the responses, the final result was…. Well, there is no Person of the Year. As it was, no single nominee had enough votes to strongly set him or her apart from the pack. So in the name of fairness (and also to assuage any egos), instead of an individual winner, all the frontrunners get to share the distinction. Here then, in a not-in-alphabetical-orstatistical-order-mind-you-just-whatever-tellsa-better-story order, are adobo magazine’s Persons of the Year.
Mon & Abby Jimenez McCann Erickson may have the billings, but pound for pound, Mon and Abby’s shop had the business acumen. In 2007, the perennial runner-up agency known as JimenezBasic officially entered the big time by winning Best in Management of Business and the coveted Agency of the Year honors. No surprise, considering that, pound for pound, JimBasic, earned more coin per employee than their bigger agency brethren. Then there was the latest brouhaha when long-time glory account Bench developed
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an unfortunate case of wandering eye-tis. But like the good agency and industry leaders that they are, the two Lifetime Achievement co-winners decided to gracefully move on, thank you, and focus on taking their agency to greater heights.
David Guerrero Ask anyone in the ad biz who personifies Philippine advertising creativity, and nine times out of ten, David Guerrero’s name shall be the first one mentioned. As the acknowledged poster child/man for Philippine creativity, David’s award-winning sensibilities are apparent in every output that his agency, the irrepressible BBDO Guerrero Ortega, cleverly comes out with. Adding more feathers to his already burgeoning cap is the agency’s Best in Industry Leadership & Community service award and ongoing affiliation with the Miami Ad School. All that, and the man still finds time to raise the country’s profile in the worldwide advertising scene by being chosen as Jury President for Radio Lions in the recent Cannes Advertising Awards. Bravo, Guerrero!
Dave Ferrer JWT Manila’s ECD may not have been in the spotlight all the time, but when his agency wins, man, do they win big. JWT’s Best in Market Performance win the recent AOY ceremonies was just the icing to Dave and company’s (and the country’s) first ever Cannes Gold Lion win. Take a bow, Dave. Roaaaar!
“Like my cellphone, I can’t imagine how life was like before it.” “You guys have elevated the ad scene to professional heights.” “Greatest impact?! It's you guys! Adobo magazine!” “Now I can explain to my parents just exactly what it is that I do. Thanks!” True, this publication managed to garner its own share of unsolicited nominations. Thank you, thank you, thank you.
Gavin Simpson Somewhere in Hong Kong, Gavin is smiling. Not because he took over the prestigious Ogilvy & Mather ECD post in HK, but because he’s probably gleefully cracked yet another creative assignment. Out of the country but certainly not out of mind, the former O&M Philippines ECD was a paragon of consistent creativity excellence, winning serious metal left and right for Pond’s, Philippine Daily Inquirer, the Economist, and other well-known brands at all the major awards shows. So much acclaim, on a regular basis? Truly uncanny. Certainly, his creative legacy will receive its own medal haul come Araw Awards night.
Manny Pacquiao He may be the current WBC International Super Featherweight champion, but Manny’s a Heavyweight when it comes to product endorse-
ments. Car batteries, pain relief tablets, clothing companies and several other brands have struck whilst the iron is hot and associated themselves with the top pugilist, with hopes that some of his stardust will translate to sales. Because, unbeknownst to fight fans, the Pac-Man’s secret weapon isn’t his left hook nor his fabulous cardio conditioning but rather the huge buzz he can generate. Advertisers are more than ready to rumble and sign up whenever a Pacquiao fight is scheduled for the boob tube. Why? Because word around the big media companies is, that for the same amount of recall and goodwill your product can produce in a month’s worth of TV airtime, you can generate the same results with just one Pac-Man fight. Talk about knockout power. Ladies and gentlemen, Manny Pacquiao, the uncrowned media values champion of the Philippines. Who would’ve thought?
other way around. And that the only thing they’re really guilty of is offering excellent broadcast packages—interstitials, discounted rates or otherwise. Good or bad, the Kapuso (GMA 7) and Kabayan (ABS-CBN) networks have made the ad business their business. A controversial development, and enough to warrant their inclusion in this list.
Surprisingly (or not) several members of the ad community chose either GMA 7 or ABSCBN to be Person of the Year. (Hey, if Time magazine can nominate a computer, then a TV network shouldn’t be that farfetched.) Good corporate citizens that they are, 2007 saw both networks become the unwitting objects of scorn as advertising and media agencies cried “Foul!” when certain top-tier clients conducted business directly with the Big Two—leaving them out the picture and out of potential commissions. In their defense, the networks claim that said clients went directly to them and not the
Talk about one step forward, five steps back. The Advertising Board of the Philippines, the governing body of Philippine advertising, got it right when they revised their Code of Ethics and allowed direct comparison advertising (within limits, of course). Chairman Andre Kahn, also called for an AdBoard Summit to plan the organization’s transition into this century. Hurrah! Yet what they did in 2007 continues to be overshadowed by what previous administrations failed to do. That is to mediate and resolve the problems between the media and advertising worlds: the schism of the broadcast industry over the TV advertising load; the resulting
secession of the GMA Network and KBP the national association of broadcast media owners; the snail’s progress on the TV Threshold Study (led by the Philippine Association of National Advertisers) and consequently, the KBP takeover of the TV ad screening process (the last bastion of AdBoard). Yes, it’s overwhelming, but isn’t that what AdBoard signed up to do? So is AdBoard still relevant? The next few months should answer that. Stay tuned, folks.
Emily Abrera If David Guerrero is Mr. Creativity, then Emily Abrera’s nom de guerre is Madam Ad Industry. With her recent elevation to chairperson of McCann Asia Pacific, the former chairman emeritus of McCann Erickson Philippines was never really out of the loop—merely preferring to work under the radar. One survey respondent summarized Emily’s credentials perfectly. “I nominate Emily Abrera as adobo Person of the Year. If one lists all her quiet unsung industry involvements, pressing on laboriously over the rewrite and update of the Code of Ethics, oversight on Ad Congress, still copywriting and crafting layouts, burning midnight oil for love of the craft, creating content, giving talks everywhere no matter how great or humble the audience and venue…and now her regional recognition. She’s it, pansit!” And that’s it for this year as well. If you didn’t make the list, worry not. You’ve got another twelve months to make an impact. Time starts…now. november-december 07
BANG FOR THE BUCK The History of Life in 60 Seconds The Guinness “noitulovE” TV commercial by Abbott Mead Vickers BBDO London was the world’s most awarded TV Commercial in 2006, according to The Gunn Report. But don’t let its huge haul of trophies fool you. Underneath all that metal is an ad that works just as hard as the blokes who drink it. THE BRAND: Guinness is the No.1 stout in the world and the most popular dark beer in the UK. Although it is currently a Diageo brand, Guinness traces its roots to St. James’ Gate Brewery in Dublin, Ireland, back in 1759. And you thought San Miguel was old. THE MARKET SITUATION: “Good things come to those who wait” is actually an advertising idea created by Abbott
Mead Vickers BBDO in 1996. It was their solution to counter the negative consumer perception about the length of time required to correctly pour a pint of Guinness from the tap (119.5 seconds) as well as to encourage bartenders to take the time to do so. The first piece of the “Good Things...” campaign was “Swimblack” which was successful at boosting sales, particularly among the older male demographic. It was followed by more variations on the theme, including the stunning “Surfer” TV spot that won the Grand Prix in Cannes. In 2002, the campaign was put back on the shelf. Diageo wanted to forgo regional advertising in the United Kingdom and Ireland in favor of pan-European campaigns, in the same manner as Guinness campaigns in North America and
the African Michael Power series. The “Good Things...” tagline proved difficult to translate, and so a decision was made to pursue other ideas. In 2005, Diageo back-pedalled on their strategy and asked for new regional marketing campaigns. As such, Abbott Mead Vickers BBDO had the choice of coming up with a new idea, or attempting to find a fresh take on “Good Things...”.
THE CHALLENGE: Bring vitality back to this 248-year old brand that has been advertising for the last 50 years. Even tougher, how does one top “Surfer” and all the other iconic “Good Things…” ads? THE STRATEGY: Feeling that none of the replacements that had been tried out in the intervening years had matched the appeal of “Good Things...”, the agency tried to find a new angle on their old concept. Several ideas were proposed, and the one believed to show the most promise was that of “The Longest Wait”.
Marmite toast with a taste of Guinness Beer! Two English cult brands team up for a limited edition spread On most mornings, my son and husband have their Marmite toast—toasted whole-wheat bread, with a layer of butter and a thin spread of Marmite scooped from its signature black and white jar. A staple in homes throughout Commonwealth countries, the black gooey spread is an acquired taste and, to my Asian palate, feels and tastes like thickened soy sauce. It’s not sold in Manila supermarkets, but we have it on our breakfast table to satisfy the craving of my UK-born and raised husband who passed the tradition on to our Manilabased children. Marmite is having fun again, daring to change its iconic label design whenever it felt like it. I like brands that dare to modify something as fundamental as its label. It speaks of brand confidence and a strong sense of identity.
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mix comes from a strain of yeast exclusive to I remember buying a limited Christmas Guinness. The makers say the result is a subtle edition of Marmite a few years ago. It had a but distinctive Guinness flavour, without the funny line, too. And I’m talking about the label, alcohol. “The best of the black stuff!” not the ad. This is a first, for Marmite to This year, Unilever UK, makers of modify its own flavour. The back label Marmite, decided to put two English cult “Some Call reads, “Some Call It Madness. Others brands, Marmite spread and Guinness It Madness. Say It’s Genius.” Stout beer into one bottle—the limited I call it genius! edition, “Alcohol Free, Marmite Others Say It’s Genius.” Three hundred thousand bottles Guinness!” were made, and I was lucky to buy one Who would during a recent trip to London. The collectable jars have thought—the co-branding are in such short supply that they are being sold on of a sandwich spread and a eBay. beer? But the black-and-white A bloke remarked in a blog, “Guinness design of Marmite and the and Marmite are two tastes that you either black-beer and white-froth idenlove or absolutely hate. Me, I love Guinness, tity of Guinness proved to be a but I despise Marmite. Whether this is enough good match. to overpower the disgusting taste of Marmite, Both of these black we’ll have to wait and see.” foodstuff have top secret My mates at home swear by Marmite recipes, and both use yeast Guinness! Too bad it won’t last. as a key ingredient. In this very special version of by Angel Guerrero Marmite, 30 percent of the
“Quality has always been a big focus for the brand. Bringing back ‘Good things come to those who wait’ has allowed us to reinforce this in our advertising in a compelling way that celebrates Guinness as the ultimate pint,” remarked Georgina Meddows-Smith, head of Guinness Marketing. THE BIG IDEA: “The Longest Wait”” positions Guinness as the perfect beer and the ultimate pint that is worth the wait, whether it takes 119 seconds or much, much, much, much, much longer.
“The Longest Wait” positions Guinness as the perfect beer and the ultimate pint that is worth the wait, whether it takes 119 seconds or much, much, much, much, much, much longer. THE EXECUTION: The £1 million TV production called “noitulovE” (“Evolution”, spelled backwards) tells the story of three friends who journey
through three billion years of evolution to reach the ultimate reward: a pint of Guinness. Three men drink a pint of Guinness, then begin to both walk and evolve backward. Their “reverse evolution” passes through an ancient homo sapiens, a monkey, a flying lemur, a pangolin, an ichthysaurus and a velociraptor until finally settling on a mudskipper drinking
THE MARKET RESULTS:
dirty water, which then expresses its disgust at the taste of the stuff, followed by the line “Good Things Come To Those Who Wait”. This spot was later modified to have different endings to advertise Guinness Extra Cold, often shown as “break bumpers” at the beginning and end of commercial breaks. The second endings show either the homo sapiens being suddenly frozen in a block of ice, or the pool of muddy water freezing over as the mud skipper takes a sip, freezing his tongue to the surface Shot on location in Iceland, “noitulovE” features the country’s dramatic landscape of steaming mud baths, volcanic terrain and iceberg lakes. It employs an ambitious range of production techniques and special effects including CGI, time-lapse filming, prosthetics, live action, still photography, green screen and stock footage.
CREDITS Agency: Abbott Mead Vickers BBDO London Client: Georgina Meddows-Smith Copy writer: Ian Heartfield Art director: Matt Doman Director: Danny Kleinman Production Company: Kleinman Productions Editor: Steve Gandolfi, Cut & Run Post-production: Framestore-CFC Audio Post-production: Wave Planner (Creative Agency): Ashley Alsup Media Agency: Carat Media Planner: Stuart Butler
Highest ever market share. Sales up one percent in a market that was in decline by three percent. The TV campaign helped the brand to achieve its highest ever market share in the Great Britain beer market. For the first time ever, consumers spent over £1 billion on Guinness Beer in the last 12 months. “Following the launch of “noitulovE”, Guinness has achieved its highest market share on-trade. We have no doubt that the ad was a key part of what has been driving recent growth for the brand,” said Georgina Meddows-Smith.
THE AWARDS Cannes 2006: Grand Prix D& AD 2006: Yellow Pencil, five entries in D&D BOOK The One Show 2006: Grand Prix, Best of Show, Gold Clio 2006: two Golds, two Silvers & one Bronze British Television Awards: Gold and three Silvers Andy Awards 2006: Grandy Awards London International: two Golds Art Directors Club: one Silver, five Distinguished Merits Eurobest 2006: Gold Epica Awards: Grand Prix, one Gold FAB Awards: Agency of the Year, two Golds Best Ads.Com 2006: Gold
Selected by adobo’s editorial board and some of the countr y ’s top creative directors
BPI Edge Mastercard “Freedom” TVC
Agency: Y&R Philippines Advertiser: BPI Express Credit Executive Creative Director: Leigh Reyes Associate Creative Director: Joey David-Tiempo Art Director: Derrick Periodico/Joel Fabonan Copywriter: Joey David-Tiempo
Director: Adrian Calumpang Production House: Provill Producer: Sonny Cruz CG: 422 Post-Production: Optima Sound Production: Hit Productsions
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EVENTS CALENDAR London International Awards November 12, 2007 Hippodrome, London Email: firstname.lastname@example.org www.liaawards.com Asia Pacific PR Awards November 14, 2007 Conrad Hong Kong Pacific Place, 88 Queensway Hong Kong Email: iris.mui@ haymarketasia.com www.brandrepublic.com Digital Media Awards November 14, 2007 Conrad Hong Kong Pacific Place, 88 Queensway Hong Kong Email: rhonda.ng@ haymarketasia.com. www.brandrepublic.com Picatoo Photo Contest November 16, 2007 Glorietta 3 Park tent www.picatoo.com Golden Dove Awards November 16, 2007 Oxford Hotel Clark, Pampanga Tel: 8151990-92 Email: email@example.com
Integrated Marketing Competition November 17, 2007 Center Stage, SM Mall of Asia Pasay City www.pana.com.ph 20th Philippine Advertising Congress November 21-24, 2007 Subic, Zambales www.20thadcongress -theneworder.com Araw Awards November 24, 2007 Subic, Zambales Email: 20thadcongress-creatives _ firstname.lastname@example.org www.20thadcongress -theneworder.com Agora Awards November 29, 2007 Hotel Intercontinental, Makati City www.philmarketing.com.ph Asia Agency of the Year Awards December 11, 2007 Grand Hyatt, Hong Kong 1 Harbour Road Wan Chai, Hong Kong Email: email@example.com www.brandrepublic.com
One Show Deadline for Entries January 31, 2008, New York www.enteroneshow.org Kidlat Ad of the Year: Organized by Creative Guild February 26-29, 2008 Regency Hotel, Boracay, Aklan Email: firstname.lastname@example.org www.4as.ph World Effie Festival February 29, 2008, Singapore www.effie.org Asia Pacific Effies February 29, 2008, Singapore www.effie.org Asia Pacific AdFest March 26-29, 2008 Pattaya, Thailand www.asiapacificadfest.com Media Spikes 2008 April 16-18, 2008 Spikes Conference April 18, 2008 Spikes Awards Presentation Bali, Indonesia Now open for entries Email: email@example.com www.mediaspikes.com
D&AD Global Awards Ceremony 2008 May 15, 2008 Royal Festival Hall, London Open for Entries Email: firstname.lastname@example.org www.dandad.org/awards08 The One Show Festival May 5-9, 2008 New York City Now open for entries Email: email@example.com www.oneclub.org New York Festivals 2008 May 21-23, 2008 New York Now open for entries Tel: 212-643-4800 Fax: 212-643-0170 Email: firstname.lastname@example.org www.newyorkfestivals.com 49th Annual Clio Awards May 2008 Email: email@example.com www.clioawards.com Cannes Lions 2008 June 15-21, 2008 Cannes, France www.canneslions.com
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Check out www.adobomagazine.com
Congratulations on the fantastic work that you have all been doing in turning out the best magazine for the industry. Bonggo Ferraren Broadcast Consultant Unilever Philippines I really appreciate the things you have been doing with adobo! I feel it is not only for the creative community but, as the cliché goes, it is for the country. Mark Querubin Director 88 Storey Films I would really like to get copies of every issue of adobo magazine. It would be helpful resource for me to absorb more about the local ad industry Steve Clay ECD Lowe Philippines I said it before and I will say it again, adobo is the best ad mag in Asia! The crafting and substance is world class! Mon Jimenez President JimenezBasic The Directors Showcase is really great! I’ve been getting good reviews for my photoshopped picture. But seriously, people find it so well made. Teddy Catuira Freelance Director adobo is one of the greatest things that has happened in Philippine advertising! Tong Puno Founding Partner TBWA\Santiago Mangada Puno Your magazine is a good read. It has in-depth coverage. It is what Campaign Brief should be. Jonathan Kneebone Glue Society I like the Directors Showcase. It is a great idea! My son and I looked through it, and we talked about the commercial we saw on TV and saw who directed it! Gerald Bautista Executive Director Nielsen Media Research Philippines I think adobo magazine has influenced the industry in a big way! Hats off to you guys! Lorna Tabuena Chairman Production Village
Top 20 Philippine advertisers based on advertising expenditure Rank
Jan-Sept 07 Spend
% Chg vs Jan-Sept 06
Procter & Gamble Philippines
Johnson & Johnson Philippines
Mead Johnson Philippines
Office of the President
Philippine Charity Sweepstakes
San Miguel Brewing Group
Universal Robina Corporation
Coca-Cola Bottlers Philippines
Monde Nissin Corpporation
Jollibee Foods Corporation
Total Top 20 Advertisers
All figures in million pesos and based on published rate cards november-december 07
CLASSIFIED ADS production houses No frills. No bull. No limit.
28 TV Commercials 19 Clients 16 Ad Agencies And we’re only 7 months old. Be part of the list.
STRAIGHT SHOOTERS Media Inc. Q4 F/4 Salustiana D. Ty Tower, Paseo De Roxas, Makati City, Philippines 1229 phone: 830 2291/ 830 2296 call: Madonna Tarrayo/ mobile: 0920 954 7551 email:
post production Excellence, Efficiency, and Reliability. All in One Take. 7/F YL Holdings Bldg. 115 V.A. Rufino cor. Salcedo Sts., Legaspi Village, Makati Phone: +632 894 58 72 Telefax: +632 759 84 90 Mobile: +63 918 904 54 16 Contact Persons: Girlie Galita Vernadette Primicias
Roster of Talents: Directors
Mac Alejandre Robbie Dinglasan Directors/DPs
Ricky Villabona, Yam Laranas
For a demo reel, contact: Andrew Roque phone: +63917 555 5288 firstname.lastname@example.org www.roqmanagement.com
sound production Corporate Videos TV Productions Post-Production Events Management Unit 804, Cityland Condominium 10 Tower 2, 154 H.V. Dela Costa St., Salcedo Village, Makati City
Phone: (632) 892-0664 Telefax: (632) 753-4716 Mobile: 0917-8648800 email@example.com firstname.lastname@example.org Contact persons: Lalaine Villarino-Chong Ruby Rose Belen
1196 Pablo Ocampo Ext., cor. Zapote St., Makati City Phone: (632) 896 2023 (632) 896 2049 Fax: (632) 895 5134 email@example.com Contact Person: Maricel Royo
P R O V ILL
RED EYE, INC. 5/F Queensway Bldg., 118 Amorsolo St., Legaspi Village, Makati City Phone :+632 813 8565 / +632 817 3183 Telefax : +632 893 9351 www.redeyestudios.com.ph CONTACT PERSONS: Gloria O. Roca Yvonne De Paula
3/F First Life Center 174 Salcedo St., Legaspi Village, Makati City Phone: (632) 818 2639/818 2659 (632) 818 2683/818 2698 Fax : (632) 818 2513 Contact Person: Niña de Castro / Apple Atos Executive Producers Arlene L. Sy Managing Director
PRODUCTION VILLAGE CORP. 7749 Saint Paul St. San Antonio Village Makati City, MM 1200 T (632) 895-5026 DL (632) 896-4741 F (632) 890-7160 firstname.lastname@example.org www.provill.com Contact Persons Lorna Tabuena Yayan Concepcion
Unit V, The Gallery Building, Amorsolo Street, Makati City 1229 Tel: +632 844 1091 to 94 Fax: +632 892 5575 Contact Person: Vic Icasas
audio visual multimedia production houses sales rental system integration design The preferred Audio-Visual products and services provider of the biggest names in the industry LCD/ DLP Projection System, Sound System, Plasma Screens, Video Walls, Control System, Discussion & Interpretation System, Elegant Tents for any Occasion
MDS Bldg. 817 J.P. Rizal St., Makati City 1210 Phone: +632 897 7777 Fax: +632 897 7444 Contact Person: Rowena Morales Sales Manager
Address: 1351 Candelaria Street Makati City 1208, Philippines Tel. No.: +632 890.7777 Fax No.: +632 890.3989 Email: email@example.com
pr & promotions
One-stop-solutions-shop for your marketing services requirements. •Literature Fulfillment/Trade Marketing •Merchandising & Promotions •Events management
Rm. 309 Cattleya Condo 235 Salcedo St., Legaspi Vill., Makati City Phone: +632 813 7619 to 19 Fax: +632 813 8645 Email: accounts@innovisionsinc. net, firstname.lastname@example.org Call: Vira Arceo, Mabel Fernando, Kat Isla
outdoor media advertising
301 The Peninsula Court 8735 Paseo de Roxas 1227 Makati City Tel: (632) 752 0372 to 74 Fax: (632) 752 0375 www.88storeyfilms.com Contact Persons: Cielo Sanchez, Louie Araneta
• Multi-Camera Event Coverage • Audiovisual Presentations • Digital-Non linear Editing facility • Staging and Event Management • Over-all Technical supervision • Over-all Project Management 5161 P. Gomez near cor. A. Mabini St., Poblacion, Makati City Contact Person: Mr. Jon V. Canas Tel. No: 729 0890 Cell: 0917 255 5821
MacGraphics Carranz International Corp. #80 Service Road, Francisville Subdivision, Mambugan, Antipolo City, Philippines 1870 Phone: 02.681.42.80 / 02.681.32.94 / 02.250.12.09 Fax: 02.681.79.44
Advertise in our classified ads section! Call +632 843 9989 or email email@example.com
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CLASSIFIED ADS digital imaging Jaka Center 2111 Pasong Tamo, Makati City Telephone +632 844 3362 Fax +632 844 9140 22 Raffles Corp. Center Emerald Ave., Ortigas Center Pasig City 1605 Phone: (632) 914 4355 Fax: (632) 914 4354 Contact Person: Emelyn D. Fernandez
mr. rockefeller Greenbelt 3, Makati City Telephone +632 421 0030 Fax +632 910 0724
UG 32 Cityland 8 Condominium, 98 Sen. Gil Puyat Avenue, Makati City Phone: +632 813 0496 Fax: +632 893 1734 Mobile: +63920 913 4670 Email: firstname.lastname@example.org Contact: Tim Bennet President
RSL SOUND & LIGHTING COMPANY 285 Brgy. Sta. Cruz Putol, San Pablo City 4000 Laguna Cell: 0921 772 6985 Laguna: 049 246 6878 Manila: 02 699 5035 Telefax: 02 699 5036 Email: email@example.com Website: www.kusinasalud.com
ARGON ANIMATION, INC.
technical sevice & equipment rental
No. 48 Damortis St., Damar Village, Sgt. Rivera, Brgy. Manresa, Quezon City Phone: +632 363 7694, +632 367 0851, +632 414 6639 Fax: +632 363 7694 Email: firstname.lastname@example.org
Address: 114 San Francisco St., Brgy. Plainview, Mandaluyong City Phone: 534 8888 Contact Person: Evelyn Gomez
Banner Stands Interactives Dynamic Signages Point-of-Purchase Printing Services Exhibit Booth Address: 674 Boni Avenue, Mandaluyong City, Phils. 1550 Phone: 532 6723 or 1659 or 0557 Contact Person: Peter Alan Dy Website: www.imavision.com.ph
casting house Adobo magazine is growing! We are looking for the following: CASTING SERVICES MANAGEMENT, EVENTS & PLANNING “We communicate with CLARITY, HONESTY and RESPECT in all accounts”
LED Wall Projector Plasma TV Display Projection Screen Discussion System
non-traditional ad medium
Suite 803 Antel Corporate Centre 121 Valero Street, Salcedo Village, Makati City Email: email@example.com Tel / Fax #: (632) 8437858 Contact Person: Rockie Caballero +63 926 702 5822
FREELANCE WRITER Familiar with the advertising beat. Email resume at firstname.lastname@example.org ADVERTISING SALES MANAGER Email resume at email@example.com Fax resume at +632 844 0251
ADOBO MAGAZINE T-SHIRTS NOW AVAILABLE!
Ground Floor, Net 2 Center, 3rd Ave. Corner 28th Street Crescent Park West Bonifacio Global City, Taguig Tel.: (02) 856 0541 Telefax: (02) 856 0634 0917 800CHEF (2433) Email firstname.lastname@example.org Website www.cheflaudico.com.ph
SELL CO (SON ET LUMIERRE) Jericho cor. Nazareth Streets, Multinational Village, Parañaque City 1708 Telefax: +632 822 3964 Email: email@example.com Contact Person Khalil “Afif” O. Khodr, Jr.
Call: +632 843 9989
Advertise in our classified ads section! Call +632 843 9989 or email firstname.lastname@example.org
Lorna Tabuena Reflects on Provill’s Success
fter high school I wanted to be a nun.” So reflects Production Village Chairwoman Lorna Tabuena on her life before the cameras and commercials. “Unfortunately or maybe fortunately, I was not accepted when I applied in the Convent of the Holy Spirit. They just told me to try again after college. I guess they knew better than me because I never went back after college.” The convent’s loss became the advertising industry’s gain, as Lorna went on to Maryknoll College where she graduated cum laude with a Communication Arts degree. It wasn’t too long after that that she established a video company which covered weddings, birthdays and, believe it or not, funerals. “That was 1979. At that time, not too many people had video cameras,” Lorna recalls. “After a while, I was able to get a break and I was given jobs doing AVPs, documentaries and promos for the advertising agencies and direct clients. Everything was done in my two-bedroom apartment office in Quezon City. One room was for administration and accounting, the other was for editing and my garage was the studio.” Slowly but surely, business began to pick up as video production became more popular, until, in 1986, Lorna launched a film commercial production house aptly called Production Village. “It felt a little awkward at first, being in a male-dominated business with Provill,” she states. “The existing production houses were big ones owned by men who have been in the advertising industry for quite some time. This was quite a challenge for me considering I was very young,
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I was the only female and I did not have any background or training from any advertising agency.” Fortunately, with the help of a loyal client who supported her earlier video company, Provill was able to work on a couple of big film commercials right out of the gate. The company flourished. And grew. Then grew some more as ad agencies began to recognize Provill’s exceptional service and craftsmanship. Eventually, Provill was officially bestowed as Production House of the Year—and more than once at that. “We’ve been through so much,” Lorna professes. “Good times and bad. We’ve done a lot of mistakes but we’ve done a lot of good things as well. Winning Production House
“I want Provill to be a movement that keeps learning, teaching, changing, improving... I don’t expect people to think like me. I want a continuous flow of different and new ideas.”—Lorna Tabuena, Provill Chairwoman of the Year once more somehow gives me and my husband Luigi an assurance that we are on the right track. I know that there are still so many things we have to improve on and it will never stop because we can never be perfect. But the burden becomes lighter because the effort is acknowledged and appreciated, knowing that we’ve gained the trust and confidence of our clients. I hope I don’t sound too righteous, because I’m not. But I have to give credit where credit is due. Without Him we can do nothing—individually and as a company.” Lorna adds. “People tell me that Provill has been there for such a long time that we are already becoming an institution. This makes me feels so old! I don’t want to be an institution. I want Provill to be a movement that keeps learning, teaching, changing, improving, experiencing, growing, thinking and feeling. I don’t expect people to think like me. I want a continuous flow of different and new ideas. I want people around me to challenge me, to keep me thinking and improving. Makes life a lot more fun and exciting!” You tell ‘em, sis!
Meet Provill’s Leading Men Raul Ona
Raul Ona is a multi-awarded brilliant director whose decorated resume includes work for Procter & Gamble, Sony, Coke, PLDT, Smart and many others. "Watching countless sunsets taught me a lot about cinematography. Eavesdropping on people riding a jeepney is like attending a directing class at film school. I never had the opportunity to obtain a formal film education, but experience is the best teacher. Ever ything I’ve learned and applied to my work is from watching and learning from different vantage points...on a bus, jeepney, airplane, in a restaurant, supermarket, elevator, bar, party, on top of a mountain or at the beach. The unfolding of ever yday life—ordinar y people in real situations—is more interesting than watching a hit movie. I tr y to spend as much time outdoors, traveling with my wife & kids who share the same passion for life."
Want Stephen? You’ll have to get in line. Stephen Ngo has only been directing since 2003, but already he is one of the busiest and soughtafter directors in town. This Direk’s reel boasts of a complete range of some of Philippines’ most vividly memorable commercials: Close-up’s Lovapalooza (“Eheads”), HSBC (“Ring”), Chowking (“Downpour ”), and Nescafe (“Silong”), among others. Having previously worked on agency side as art director, film did not seem for him a natural progression, “Pero so far, okay naman...masaya naman sila sa finished product (So far it ’s been good...they seem to be happy with my work),” he smiles humbly. Pretty modest for someone who bagged Best Direction—Bronze for both “Ring” and “Downpour ” at the last Ad Congress Araw Awards— an effortless win in just his first year at directing. Watch him win tons more.
Take Onishi Graduated from the world-famous Art Center College of Design in Pasadena, California, Takeyuki Onishi (fondly known as “Take”) worked as a cinematographer in the United States for independent short films, music videos and T V commercials at a Japanese local channel. Two of the commercials he shot in the U.S were chosen as finalists at the 2006 Cannes-CFP-E/Shots Young Director Award. In August 2006, he moved base from the U.S to the Philippines and has since been working for Unilab, Sarah Lee, Jollibee, PLDT and others. Now a year into his stay in Manila and he is already a favorite in the industry. “The crew loves Take. He is very easygoing, and a great cinematographer,” says frequent project co-worker, director Luis Daniel Tabuena. “ When I give him a peg, I know that ’s exactly what I’m going to get.”
Luis Daniel Tabuena has always wanted to be a filmmaker. This 24-year old director fondly recalls a childhood love of playing with action figures and his frustration of wanting them to actually move. This “dissatisfaction” progressed to making short films in high school, and since then Luis knew he was going to someday sit on the director ’s chair. Having just returned from completing his film degree last year at the Art Center College of Design in Pasadena, California, Luis Daniel already has to his name the clever execution of projects like Firefly Lighting (“Dona”) and Hapee Toothpaste (“Big”). His work on Mr. Quickie’s “Runner ” was submitted as one of the few TV commercial entries to Cannes, and he was also a finalist at the recent AdFest for La Mesa Ecopark’s “Ligo." “I want to be a part of a movement that pushes the Philippines forward and be known internationally for our wealth of ideas,” Luis says, “I believe in the richness of our creativity, and that is why I came home.”
Yeyey Yatco started out on the agency side in 1988, having worked his way up as senior art director in McCann. His creative team catapulted SMART and, later on, competitor, Globe Handyphone, to the top of the cellphone charts. He was later introduced to Production while undergoing training as a special effects director and assistant director for technical matters in 1994. • Yeyey mastered the camera directing commercials for Unilever, Nestlé, Universal-Robina, Philip Morris, Selecta, and many more. His work for CCP’s “Dance” was a bronze winner at the last Ad Congress, alongside his other previously awarded pieces, “Birthday Ko Ngayon” (Maggi Spaghetti), “Can Do” (Sari Sari), “Men’s Room” (Novartis) and “Help Mindanao” (Red Cross PSA). • When he isn’t working, he conquers the road with his Vespa Gran Turismo, and dreams of someday reaching ever y nook and cranny of the Philippines on it.
Luis Tabuena SPECIAL ADVERTISEMENT november-december 07
Mark Meily wants your vlad!
Young at heart PD Edwin Garcia
Newlywed CDs Kat and Joel
When Melvin met Abelle met Raul
Recent Provill recruit Raul Ona
Marlon Rivera surveys the bachanalia
Another year, another Production House of the Year plum. Provill celebrated their win at Embassy, and there wasnâ€™t a wallflower in sight. Cheers!
Dave takes one for JWT
Onat Diaz busts a move
Mom-and-son team: Luis and Lorna Tabuena
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Angel with Mickey D and Petra
GM Yayan Concepcion & Direk Stephen Ngo
©Eastman Kodak Company, 2007. Kodak is a trademark.
Hungry? Yeah, for attention in :30 gulps. It’s not easy. For you or your client’s brand. More channels mean more noise. Viewers multi-task. Attention spans shrink. Live area grows. Get the attention you deserve. Film offers unmatched resolution, color and sharpness that jumps off any screen, any size, anywhere. www.getnoticed.com