Is Pharmaland a one way ticket?

I recently had a phone conversation with a Creative guy who was uncertain about a move to a CD role in Pharmaland.

He had some legitimate concerns.

Would he be forever labelled as a ‘pharma-creative’ with all the mediocrity that that would imply. Could he ever get back in to consumerland after having the ‘Pharma stink’ on his clothes?

He didn’t put it like that but it’s what he meant.

I remember from my days in consumer the disdain that all self-respecting-ATL creatives had at the time for the lower divisions.

By the lower divisions I mean the BTL lot, the Direct lot, the Digital lot, the global lot.

You know…what all creatives are nowadays.

It wasn’t overt, but when a creative left to join a healthcare agency there was always the same reaction, a mixture of pity and there-but-for-the-grace-of-God-like thankfulness it wasn’t you (yet). Like the scene in THE GREAT ESCAPE where the little Scottish guy runs at the fencing shouting “I cannee take it any more!!!” before getting gunned down by the guards.

We looked up, nodded them a farewell and returned solemnly to our desks writing ideas that would never make it beyond a special account handling department file labelled ‘Meeting fodder‘.

This was the life!

As I spoke with my new consumer-creative acquaintance I even surprised myself with my now solidified passion for Pharma, now that there is clear water between my old career and this one, it seems I have gone native.

And what’s worse, I don’t even care.

Because what’s so great about consumer these days? have you seen the work that is on our outdoor posters recently? have you watched a TV break? when was the last time you asked anyone if they saw ‘that ad’ last night.

Believe it or not, that used to happen a lot.

Sadly, the most memorable ad of late is probably the diabolical Pepsi debacle.

Maybe the ‘content pieces’ that seem to emerge from somewhere or other and find their way on to your Facebook page are all that’s left of a once heavily populated ocean of opportunities, deftly avoiding months of focus groups and re-briefs. Occasionally there is the odd socially motivated film that gets shared, about how we should all just get along and have a beer (insert brand). That kind of thing. Fair enough.

There are some great humanitarian campaigns about empowering girls, or teaching the world to read.

I’m sure there are some other great campaigns but I can’t really remember them.

So, I wonder why a consumer advertising career is still attractive to a young creative person. It’s now much more about tactical thinking, direct targeting and content platforms than it is about launching new brands to the world. That’s much like Pharma, but we still get to launch brands all the time.

And consumer-land isn’t even much of a haven for heavy drinkers anymore.

These days many of the restrictions and legal limitations that a consumer brand faces are similar to those in healthcare, at least creatively speaking. No use of clever language please, no regional in-jokes etc because the world wants global ideas.

(Customers don’t want or need global ideas, but corporations do.)

Ok, so Pharma has a bunch more self-imposed restrictions than just that but the creative opportunities, when they arise, are just as potent.

It’s all about what you do, as a creative, with those opportunities. And recognising them as such in the first place.

Okay, you counter –  it’s the clients and target markets that are worse in Pharmaland. They’re very literal and unsophisticated (never understood why) and obviously consumer clients are more media-savvy and braver.

Can they be any worse than whoever insisted upon or bought and signed off these attempts? It seems now its quicker to bypass creative teams and go straight from brief to production.

So much for the un-shackled glamour and creative opportunities of a career in consumer. At least in Pharmaland there are no pack shots, (just big logos) to substitute for an idea.

Anyway, back to my creative guy: I just heard he accepted the job. Good for him.

He’ll find that Pharmaland isn’t a land devoid of budgets, cool people or creativity.

There are some cool people and creativity.

Ok, definitely creativity.

Occasionally.

And if it is a one way ticket, then that suits me fine.

 

 

When you avoid offending anyone, you offend everyone.

One of the things that separates creatives from mere mortals, (I jest) is the ability to finally accept that your idea didn’t fly with good grace and resilience.

Nobody understood it.

Nobody liked it.

You could never afford to do it.

It had been done before.

”Don’t worry I’ll think of something else.”

All those things are hard to accept but they pale in comparison to having got your idea through and produced and then hating it.

The worst disappointment is having spent a year on a project, done three rounds of pitching, two rounds of research, fought tooth and nail for the right budget and director, photographer or animator – tried to accommodate everyone’s opinions and then when you see it you just go, ‘oh crap’.

Your heart sinks, maybe not because its awful, maybe just because it’s okay. But mostly because it really wasn’t what you started out believing it could be.

You thought it would be funnier, you thought it would be cooler. You thought, you thought, you thought.

You just hope no one notices it and it passes without incident or damage to your career.

That’s why I just feel rather sorry for the makers of the now infamous Pepsi ad. Most of us in advertising have made a turkey, myself more than most but this one was the ‘Heavens gate’ of cock-ups.

This Saturday Night Live skit, summed it up perfectly. The initial enthusiasm of the creative ( here they lump the director and creatives in to one easy to digest character) being thumped down to earth when the reality of the purile concept and all the compromises he’s allowed to happen hits him.

Because making a good commercial is hard.  That’s why agencies fight to get the best talent. It’s why good creatives can be seemingly unreasonable. Contrary to popular sentiment that ‘everyone is a creative’  making a spot that captures the imagination of the public is about more than just heaping a bunch of lame socially current imagery in to a nicely shot film and hoping for the best.

I’m not really sure in this day and age of multiple research rounds etc how no one commented that this was a pile of shit?

Maybe in the concept stage it was easier to fudge and promise this arguably noble ambition of ‘bringing together of cultures and world peace’ in a storyboard.

A bit like when you have a really funny story in your head and when you start to tell it out loud to your friends they stare at you non plussed and all you have to offer is a meek ‘well…er…you had to be there’.

Being unreasonable stops this kind of disaster.

Maybe it even started out as a black lives matter script.

Maybe it featured a black woman, perhaps the real Leisha Evans from the Jonathan Bachman photo taken at the Baton Rouge protest, maybe they envisioned it as gritty and urban but also simple and genuine.

It would still have been on dodgy ground because appropriation of serious issues by a soft drink (and not even the one that is best placed to make this kind of ad) is a minefield, obviously.

Then, after the first presentation, all sorts of people from clients to consumers to consultants started commenting:

Does it have to be an angry march?

We think it’s too much black lives matter? 

Can’t we have smiley faces? make it about ‘the conversation’?

What about some cool dancers to appeal to the kids?

And we want to be inclusive, one of the heroins should be a muslim girl.

I think a Cello could add some class, it’s all rather street isn’t it?

Just so many deaths by a thousand cuts that it ended up being a long way from that first idea.

And no amount of money or celebrities could save it.

But the final film was just so fake, so contrived and emasculated to avoid offending anyone, it offended everyone.

In my experience being polarising can be a good thing, if you aren’t upsetting the applecart a little then you’re doing something wrong.

Just don’t destroy the whole orchard.

I’m being generous of course, it could have just been this God-awful crap from start to finish.

The only consolation is that there’s always another brief and a chance to redeem yourself.

You hope.

 

The old egg and lightbulb rule.

In research it’s always nice to hear that respondents ‘liked’ your idea.

But so what?

The problem is people like a lot of things, pictures of puppies, pretty colours, the way the model looks strong, the happy setting of a family on holiday because it reminds them of that time in Corfu.

It doesn’t really mean they’ll remember it though, at least not just for that reason alone.

I always love that question when you hear it in a research one to one. “Which one of these concepts would you remember most?”

As if they know!

Not to say it isn’t a valid expectation, fixing a permanent spot in the HCP’s mind is kind of what we should be aiming for, obviously.

Derren Brown, the famous er…magician doesn’t really cut it…illusionist possibly? Anyway, ‘Wizard’ is probably closest, knows a thing or two about how the mind works.

If you have ever had the pleasure of seeing one of his shows it is literally a marvel.

If you didn’t know better and if he didn’t admit he isn’t one, you’d swear he was a genuine psychic.

It appears he can read minds and predict the future.

And his ability to memorise things is incredible.

But it’s based on simple techniques that he writes about in his book A trick of the mind.

One of them is this:

If you want to remember a list of random items, it helps if you visualise them meshed together to create a strong visual image in your head.

To demonstrate the difference try these two techniques. First, give yourself one minute to learn this list of ten things in this exact order:

A kettle

A red shoe

A giraffe

A cloud

A banana

A clam

A urinal

A guitar

A country lane

A grey carpet

Got it?

Okay, go away and try writing them down in that order and see how far you get.

Now try the same list but this time link the two images together in a visual picture.

A kettle

A kettle shaped like a red shoe

A pair of red shoes on a giraffe

A giraffe shaped cloud

A cloud emanating from a banana

A banana inside a clam

A clam peeing in a urinal

A urinal shaped guitar

A guitar in the middle of a country lane

A country lane made of grey carpet

Now try the same exercise and write them down again. A bit easier to remember isn’t it?

That’s because memory is linked closely to the visual side of the brain. If we can visualise it, we remember it better.

That’s why so many of the great ad campaigns have strong visual elements.

It’s also why concepts with people on the beach or at the park and a line about their data are likeable but forgettable.

It’s why you forget most of the advertising messages you are bombarded with every day.

It’s why even strong headlines are often visual too and paint a picture.

So what can we learn from this little trick of the mind?

Well it might help agencies and clients take a different view of that part of the research debrief that says the respondents ‘like’ an idea.

As I said, people like a lot of things.

But the things they remember are the ones that are a square peg in a round hole. The ideas that subvert, twist, shock or surprise.

It’s why a picture of a lightbulb or an egg may be likeable but isn’t memorable, but a lightbulb, cracked like an egg somehow is.

 

 

 

 

 

 

Survey this.

Frankly, I have had enough of survey requests.

Not the door to door type, just the incessant ‘how was buying that door knob for you’ type of survey.

I don’t want to be part of the big data I want to be small data, in my own house, leave me alone thank you very much.

The problem with surveys is (and by the way- how is your experience of the last sentence? can you take the time to fill in a form?)

When I just want to book some theatre tickets I don’t want to tell you how brilliant I found the experience of giving you my credit card details. I just want the tickets.

If I didn’t find this a reasonably good experience I would:

A: Not use your poxy site again

B: Complain

Actually, I probably wouldn’t even complain. I mean how bad would your website have to be?

You will find out if your website is crap because people will stop using it.

How’s that for a real life big data survey?

I recently have had some dealings with SKY. Yes they sorted the issue out, no I don’t want to rate your employee.

I’ve done it twice and the texts won’t go away.

It’s actively making me hate the SKY brand.

But that data isn’t captured because I keep giving them 10 out of 10 because it’s easier that way and it gets them off my back.

I recently joined the National Trust. Now I have a text sitting on my phone because they would ‘love to get my feedback on my experience’.

The guy on the phone was nice enough and I gave him my debit card details.

There, does that help?

What if agencies surveyed their clients as regularly as other companies think it’s OK to do? How was your last conference call? was it A: Too long B: Too short C: Waste of time D: Incoherent.

You recently had a presentation from our agency. Did you find the slides A: Tedious B: Colourful C: Interesting D: Helpful E: Stupid.

How do you view our recent award triumph at the PONCY AWARDS in Zurich? A: Don’t care B: Somewhat don’t care C: Massively cool D: I got drunk and embarrassed myself and have no recall of anything.

Would this help improve our services?

The only real data that matters is if you still have the account and if the work worked.

I do wonder whether this new obsession to gather trivial data at all costs is really a true reflection of real life or that helpful.

Me? I am all surveyed out.

How was this blog for you?

 

 

Award show jury members are thickos.

So it’s been Pharma-awards season recently and we have a few on the horizon.

Did your agency enter work this year but not garner the adulation you expected?

We’ve all been there.

If so, there’s a reason for it and it isn’t necessarily because your work wasn’t good enough.

It’s because jurors are well….a bit thick.

I should know, I have often been one and I am thicker than Simon Cowell’s platform heels.

You may reasonably deduce that your work wasn’t good enough, but really…because of the general fuckwittery of us jurors it was probably more accurately – your entry wasn’t good enough.

Yes, in the midst of that excited preparation of entries for creative awards it’s easy to forget who your target market is.

Frustratingly, juries are made up in the most part, not from sciencey people, clients or account people who know the brief, the brand and the disease area but the kind of cool kids who would copy your homework at school and still somehow get less marks than you.

Otherwise known as other creatives.

I know. It seems unfair.

And what compounds the problem is that it’s usually us banana-brained flowery-shirted neanderthals who prepare the entries. It would be a vicious circle if the people involved on both sides were smart enough to be vicious.

You see, your entry may have made a few basic, not unreasonable assumptions.

These are that:

  1. Jurors would bother to find out what disease the brand was indicated for, if it wasn’t obvious.
  2. Jurors would bother to read the 5pt font that explained what the idea was because the concept page was printed on A4 but designed in A3.
  3. Jurors would instinctively know what the work was trying to achieve.
  4. A video of the app in use with no commentary and crudely shot on an iPhone would hold their attention beyond the first five seconds.
  5. A case history video rushed together on the morning of the deadline with no voice over and subtitles so quick that they could induce epilepsy was sufficient to fully capture the glory of the whole project.
  6. That in a case history video Jurors will be captivated by the five minute testimony of the client’s conference delegates, telling them how much ‘they loved the stand’ because your agency didn’t re-edit it for awards and just used the one you used for creds meetings.

If you made any of these assumptions without making allowances for we sludge-brained amoeba that sit on juries you might be hiding your light under the tinsiest of bushels.

From what I’ve seen, the work that does well in any awards show (certainly for any craft category) isn’t just a good idea…it’s well presented with the concept up front and personal, with some legible copy explaining the brief and why the solution is what it is.

Make it easy for a horses-arse like me, and just like your lovely work that needs to be recognised as such, keep it simple.

Then cross your fingers.

 

 

 

 

 

 

 

 

 

 

Dear Mr Hammer, your problem isn’t a nail.

Aren’t all branding ideas sort of advertising ideas and vice versa?

Well, sometimes, I guess, but not always.

In Pharmaland we can lean towards treating every problem as if it needs a good whack on the head. Give it a brand image that people will remember, plaster it all over the congress stand and the iPad and stand back.

Not you obviously, but you know…other agencies.

The most recent Mr Muscle campaign highlights the often subtle differences between what (I regard as an..) advertising idea and a brand idea. Both have found their way in to an adspace mind you.

Now, I am not saying that this is the greatest campaign of all time, but it provides a useful, albeit mediocre, example.

The old campaign featured, for years, a feeble nerd who took on super strength because of the product. Mr Muscle loves the jobs you hate.

screen-shot-2017-01-23-at-17-29-24 screen-shot-2017-01-23-at-17-29-46

Yes, irony folks. But it worked because people could see the role of the brand in their life.

Then after a 30 year successful run some sort of global adboard switches it around and makes the product a superhero (yawn), complete with muscles and a square chin. Not sure why he’s animated but never mind.

One shows the user having a clear benefit.

The other says the brand is great.

journal-mr-muscle

I can imagine the team somewhere deciding that the weedy guy was too negative, he didn’t embody the brand in a positive way.

“I think people might think the product is weedy too…I just feel it’s too negative”.

“Good point Gustav, what we need is a more positive image.”

“Yes, and we need a woman in there so housewives can relate to the user – because men don’t really do cleaning”

“Thanks Maria, good point.”

That Maria is a bit sexist if you ask me.

To my mind they fundamentally lost what makes a good advertising idea work.

The hero is all about the brand, the weedy guy is all about the benefit to you, the bathroom attendant and therefore the brand.

Truth is, clients can often miss the point and go straight to what the pictures in front of them appear to be saying purely on a visual level.

It’s the semiotic argument.

But to paraphrase Eric Morecombe, do all the right notes in the wrong order still add up to a concerto?

At one point in the third act of the film ‘Notting Hill’, you’ll remember that Hugh Grant and the gang all pile in to a small car with a lion in its logo. The cookie sister shouts to Rhys Evans as he squeezes in to the boot ‘You’re my hero’ and they whizz off to stop Julia Roberts from leaving town, to the tune of ‘Gimme some Lovin’.

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I only found out about this a couple of years ago that this was a secret sponsorship, product-placement kind of a deal, brokered by the the account director on the car account I used to work on.

Unsurprisingly, it bypassed our creative department entirely.

It showed the family car could take a lot of people (obviously) and the ‘hero’ line was spot on the branding strategy about heroes that that particular car brand was employing at the time.

The client loved it. They couldn’t sign up quick enough.

That little deal cost them about £150k and it went straight in to the pocket of Working Title films and became an iconic moment in a much loved movie.

But wait a bloody minute.

I’ve seen that film a dozen times and all I saw was a group of friends jumping in a car and driving though london.

And I worked on the brand!

All the right notes, not necessarily in the right order.

Maybe it had some semiotic effect that I don’t know about, but even with all those branding elements that the client held dear and spent millions on, it still didn’t add up to an actual message.

Pharmaland is full of images that capture the ‘brand essence’ or even the MOA without making a connection with the doctor or end user in any meaningful way. We mistake branding ideas for ideas that connect with our audience, the orange bridge, the blue apple, or I dunno….the red sodding banana all probably encapsulate their respective brands perfectly, without ever actually meaning a bloody thing.

What we need in Pharmaland, heck even adland in general, is less hammers looking for nails and more advertising ideas.

Or at the very least, to be able to know the difference.

 

 

 

 

 

 

How a brand can punch above its weight.

Back in the 90s I was fortunate to do a fair amount of international jet setting due to being the jammiest git alive and working on a car account.

The ads were popular somewhat but never that great –  which was always unsatisfactory, but the trips were the consolation prize.

We used to go to LA quite a bit and stay at the Sunset Marquee hotel. The names I could drop, if I had a mind to.

Which I do.

The infamous ‘Whisky bar’ within the hotel, was where every night Slash would set up his table and be surrounded by hangers on. Jeff Beck, would usually be hanging around in his cap sleeve T-shirt, we were there on the night the Sex Pistols played LA on their reunion tour and were politely drinking in the foyet. We’d come from a schmancy restaurant in Beverly Hills where we sat next to Densel Washington while Elle McPherson was talking with Joe Pesci at the bar.

I once noticed an old man dining alone at the Sunset’s small restaurant but resisted the urge to ask if he wanted a chat. It was Paul Newman.

Super models roamed the corridors and I remember one afternoon we shared some late sun with Billy Ray Cyrus, Mylie’s old man.

All of these encounters and sightings should have prepared me for what happened one evening in the Whisky bar.

I tell this story as no more or no less than a story about branding and how a brand speaks and behaves and how important it can be.

The name dropping is purely gratuitous.

But we’ll get to that.

Now: Whisky.

(In this ‘dry month’ of January it seems appropriate to talk about the hazards of the demon drink.)

So anyway, whisky has an effect on me like no other drink.

While I have never been an aggressive person, it does slightly give me a false sense of my own macho-ness, let’s say.

Wine, makes me fall asleep at the table and Tequila can lead to all sorts of mischief. I’m sure your experiences are similar.

But the night in question, it was whisky at the Whisky bar.

We had returned to the hotel after casting or shooting or location hunting or some such production based pastime.

A very good friend and colleague of mine at the time was an assistant producer named Liza, she has since grown up and had babies but at the time she was an attractive young woman in her twenties ( and obviously still is!) and as an agency team we felt protective of our assistant producer, she was like a kid sister.

As we sat outside on the small patio she wafted through the doors in to the evening LA fug, if not exactly like a goddess, certainly like an attractive assistant producer.

Oh alright, a goddess sounds better.

I then heard a cockney voice shout out something like ‘Oi. you…over ‘ere!’

It was the mating call of the lesser spotted London geezer and Liza had caught his eye.

Although quite innocuos in retrospect I took affront to this indelicate language addressed at our assistant producer….as if she was some parlour maid.

I stood up and approached this braggard.

Yes, braggard.

I should say that at this point I was more than a little sozzled and words like braggard and parlour maid were frothing to the top of my internal vocabulary, turning me in to some sort of psychotic Lord Melchett.

I approached this bounder who was sat delicately perched on the low brick wall. One push would have done it.

He looked me up and down, unimpressed.

What followed was a strange sort of conversation, there was a lot of ‘don’t speak to women like that’ and a lot of ‘who the fuck are you, her dad?’ type replies.

Then a few “yeahs??? and a few “whatchagonnadoaboutits”.

You know how stupid people (ok men) can get when this sort of thing happens.

But for the first time in my life, and thankfully the last, I felt like I was the guy in charge here.

I didn’t waver, for all intents and purposes I was a hard nut.

Not because I looked hard, or spoke hard. But because I believed it. Yes, it was mostly Glen and his merry band of fiddichs, Morangies and Livets backing me up, but there I was – being macho.

There was a sort of stand off. To be fair this guy wasn’t backing down either.

But neither did he make a ‘move’.

There was an awkward sort of ‘yeah..well mind your language’ kind of unsatisfactory ending to the ‘face-off’ but I at least walked away with my dignity.

And it was over. I couldn’t believe that was even me.

We made our exit to the bar where Mark my boss and Nick the account director were standing laughing their heads off.

I assumed at my idiotic behaviour.

And they were of course, but I had had no idea quite how idiotic I had been.

And frankly you may be thinking that there’s nothing special about this sort of loutish behaviour, men square up to each other the world over every night of the week. It’s embarrassing and nothing to be proud of.

Well, here is where we get to the advertising insight part.

How a brand behaves and acts IS THE BRAND. You don’t need to work your way up to be a brand leader in terms of how you conduct your brand personality, you can just start behaving like a brand leader and so long as you stay faithful to that tone, you can fool pretty much anyone. Even yourself.

Product is what it does, Brand is how it behaves.

“Do you know who that was?” My chums said as I returned to the warm safety of the agency huddle, expecting at least a small degree of newly discovered respect.

“No, who?”

“Have you ever heard of Gary Stretch?”

Hmm..the name rang a bell.

“What the WBC International Light Middleweight title holding Gary Stretch?”

“The now living in LA as an actor Gary Stretch”

“You just nearly got the shit kicked out of you”.

To be frank, it wouldn’t take an ex-professional boxer to kick the shit out of me, but yes – they had a point.

The one time I decide to be a macho idiot and I pick the best pound for pound fighter of his generation.

And lived to tell the tale.

Tone of voice really is everything.