MASTER CLASS: HOW TO MAKE A GREAT COMMERCIAL (PART ONE)

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MASTER CLASS: HOW TO MAKE A GREAT COMMERCIAL (PART ONE)

*Co. Create just put out an article on the title above. You can read it here or just read the points below that I thought summarized the important stuff.

Most viewers would agree that, aside from a handful of exceptions, the Super Bowl did not represent the best possible creative product the brand world had to offer.
the volume and quality of digital campaigns increased, the industry’s ability to make a great spot seemed to decrease.

THE STARTING POINT: A GOOD CREATIVE BRIEF

It should be one page. I like a clear point of difference; it makes it easier. The more specific the problem to be solved, the better, as opposed to saying “Snickers is good.”

THE PERFECT TEAM

One decision maker is key. A CMO or president who has final say. Group decisions are bad decisions.
Account people: no one who has a vested interest in making sure the client is happy. I don’t want anything to do with people who think they work for the client.

If anything has the faintest whiff of familiarity, we kill it. Even if you can’t cite a specific example, if it feels like it’s been done, kill it.

I don’t believe in 1000 monkeys typing or agency gangbangs***.

The CD needs to be able to identify a kernel of an idea in those scripts because juniors rarely identify big ideas—they have them, but they have to learn to see them.

THE CREATIVE PROCESS

Complete immersion in the product.
I told my planning department at Saatchi that when I came into their space,
I wanted to feel old and stupid.

The writing process is almost always the same. A lot of ideas come at the beginning. Most you should throw out.
By the time you get something made, there are probably about 100 ideas that you personally thought were good but someone else has said they stink. You need a thick skin.

IN SUM