CRAFT Jury

Foreword –Lynsey Atkin Chairwoman of the ARROWS Jury Executive Creative Director, 4creative

I have been trying to win a National Lottery rollover since the dawn of this millennium. Failing that (to date), I have taken to chairing this British Arrows rollover year with equal fervour.

After all, any attempt of winning either jackpot begs the same important question: Just how much luck is involved?

People with talent don’t much like being told fate plays a hand, but the answer will always be ‘some luck is required’. No piece of great work gets made – or awarded – without numerous stars aligning. So the truth is that to some degree, both are a game of chance. Both are determined by a number of factors – including but not limited to just how many people are playing the game. This year’s Arrows had a record number of entries – unsurprising for a two year celebration perhaps, but let’s not forget the wasteland of Spring 2020...

The standard of creativity in the work entered this year is remarkable, and as an industry we should be very proud of what we have collectively achieved. But it’s fair to say that even the most special among it has had its work cut out. A few times we wished to award not just one gold in a category, but three, perhaps four. But gold is gold – and we’ve respected its rare treasure. Perhaps in other years, one of the more impressive films here would have run away with the lot. But the stars aligned to give it all some very tough competition. This year the jackpot will be shared – and rightly so. There is simply too much good here for only one winning ticket to prevail.

Lottery wins promise big things, big houses with big gardens, big holidays with big drinks, big skies and big freedom. But in the past 2 years, everything has shrunk. We’ve been reduced to ever decreasing bubbles, squares in screens, maximum capacities and minimum joy. It has been the hardest time in most of our working lives – so given the chance, who can blame us for wanting to shoot for big again? Perhaps it’s no surprise we’ve gravitated towards work that has scale.

But this isn’t a scale that comes with bloat, greedy on a world (and a budget) that never says no. It’s big because of its humanity – the great stuff tonight takes us somewhere else and rips us out of our enforced confinement. It reminds us there’s a wonderful, complicated mess of other people – of life – outside of our shrunken orbits. The best of it executed with an enviable hand –that seeming lightness of touch and easy flamboyance that comes when people know they’re onto a good thing. So, as we step back out into the light, let’s keep things big. I think it suits us.

Thank you to the British Arrows board, Clare, Jani, Lisa, Sergio and everyone else who has allowed me the privilege to chair the Arrows jury of this outstanding year. Thank you to the jurors who were every bit as smart-minded, sharp-tongued and kind-hearted as I knew they would be. What a special thing to be able to do.

ARROWS Jury

BACK ROW (L–R)

Simon Gunning, Chief Executive Officer, The Campaign Against Living Miserably (CALM) James Sorton, Managing Director, Pulse Films Joseph Ogunmokun, Producer, Mother Akinola Davies Jr., Director, Iconoclast Melody Sylvester, Head of Film, Engine Laurence Thomson, Joint Chief Creative Officer, McCann UK Lambros Charalambous, Creative Director

MIDDLE ROW (L–R)

Darapen Vongsa-Nga, Head of Emerging Talent, Academy Joe De Souza, Creative Director, Wieden+Kennedy Claire Beale, Founder, Creative Salon Sam Chitty, Head of Production & Executive Producer, Biscuit Filmsworks Dan Gorlov, Creative Director, Apple Selma Ahmed, Creative Director, adam&eveDDB Elliot Harris, Executive Creative Director, Havas FRONT ROW (L–R)

Matt Fitch, Creative Director, adam&eveDDB Jani Guest, CEO, Creators Inc. - British Arrows Board of Directors Co-Chair LYNSEY ATKIN, Executive Creative Director, 4creative Clare Donald, Chief Production Officer, Publicis Groupe - British Arrows Board of Directors Co-Chair Shelley Smoler, Executive Creative Director, Droga5 Helen Rhodes, Executive Creative Director, BBH Shelley Macintyre, Global Senior Marketing Director, Beam Suntory

NOT PICTURED

Craig Spence, Chief Brand and Communications Officer, International Paralympic Committee Joe Bagnall, Head of Film, Lucky Generals

Foreword –Lisette Nice Chairwoman of the CRAFT Jury Founder & CEO of The Factory Family

What an honour it was to chair such a talented and engaged craft jury. Collectively their commitment to ensuring the best work rose to the top was only equalled by the time they dedicated to the process. Thank you for making it such an enjoyable experience. The British Arrows represents all that is wonderful in our industry and I’m incredibly proud to be a part of it. Special thanks to the amazing Lisa, Sergio, Devon, Clare and Jani whose exacting organisation and experience made the process so good.

The last two years have been challenging to say the least but with creativity and craft as our drivers we got a sharp reminder of what makes good, great: bold leadership, agility, empathy and compassion. Collaboration, experimentation, innovation and kindness. Judging by the work we have seen, as an industry we should be very proud, we’ve SMASHED IT.

Maybe this was because of shared adversity, maybe it was just time to fully embrace technical development, maybe it was our bloody-minded desire to produce brilliant work and be authentic, but we certainly used the time effectively and completely knocked it out of the park.

Innovations in technology led the way in problem solving and in doing so became a vital tool in creativity. Change was accelerated and embraced. And, whether your thing is Frank Zappa or Plato we proved ‘Necessity is the mother of invention’.

Let’s not forget that we used the time wisely and committed to tackling racism and prejudices that have been left unchallenged for too long. Advertisers and broadcasters took initiatives and launched programs to track and develop diversity, equality and inclusion. They paused selling products and instead promoted values.

C4’s ‘Black to Front’ campaign, in conjunction with 60 leading brands, dedicated an entire day of advertising to feature a black lead or majority cast. ITV & Uncommon threw their weight behind the dance troupe Diversity when Ofcom received more than 24,000 complaints with “This is what change looks like. ITV stand with Diversity” and we’ve never been prouder. Bloody brilliant. The last two years have seen times of great loss but also unprecedented opportunities. I hope we take these learnings along with us into our future and embrace the ever-evolving new normal with gusto.

Bring it on 2022......