Spotlight on, ad interviews, exclusive content, scoops

Last week, Old Spice owned the internet and while some may find it difficult to support the creative campaign due to an overabundance in choice, others (like me) love it so much they want to marry it. On the Beancast this week Duane Forrester, Dan Goldgeier, Joseph Jaffe, and Helen Klein Ross, spoke about the campaign and strategy
- check out Episode 111: Smell Like Duane if you haven't already.

We managed a quick Q&A with the W+K Old Spice Team on Friday - they're slammed now, as you would expect which is why it took them a little while to get back to me. The extra delay is due to the fact that I actually take weekends off in July (what? Don't give me that look. I don't get paid for this.) So, without further ado - the Adland.TV Old Spice Q&A

Old Spice - Re: Rose - how many teeth does a shark have?

db: How much time did you spend on each ad? 30 minutes? Seven? I'm not sure how many hours you were doing this, and is the total count 184 ads?
- More than 180 video responses were created in a three-day period. We worked as quickly as we could without compromising the quality and integrity of the spots. In most instances, start to finish ranged between a 10 to 20-minute window, but some were completed in as few as five minutes.

Anyone who follows @ditavonteese on twitter or foursquare will have spotted that she is checking in to a mystery mansion somewhere in France. The good news is that you can check in to the same mansion without leaving your house. It's the mansion, where you can with skills and good cursor manners tease and follow Dita, and if you do well get a bit of seduction, burlesque, glamour, sexy in return... It's laid out as an interactive adventure, and if you don't have manners, you're out....

We had a chat with Richard Gorodecky, the Executive Art Director of Amsterdam Worldwide at the terrace of the Majestic Hotel in Cannes on the very last day of the Cannes Lions 2010 festival, about craft and engaging todays consumer.

The only advertising that gets noticed is the advertising that people like, or want to engage in.

He stresses that you can not lie in advertising, in fact you can't lie about anything, ever, these days, as you'll be found out in nanoseconds. Brands are built on truth, integrity and great storytelling. We soon veer off talking about smugscreens and as a bonus, Richard does his Cannes Lions impression.

Really great ideas are rare as rocking-horse shit.

I met up with Gustav von Sydow founder of Burt, which creates products and tools for advertising agencies like Rich Metrics (we've talked about those here before).

The firm which is Swedish by origin, is making progessive strides into the US market, and Gustav is racking up the miles on his frequent flyer cards bouncing around the world.

- You have a lot of clients already, and I know that you have a quite a few US clients. Are they more open to Burt than fellow Swedes?

Draftfcb are all over the Cannes Lions like gum. Tina Manikas, the Global Retail and Promotions Officer, is the president of the Promo & Activations jury, while Dagan Cohen, CD of Draftfcb Amsterdam, is on the Cyber jury. Direct jurors include Augé Reichenberg (EVP and Group Creative Director, Draftfcb New York) and Kobi Barki (Creative Director at Draftfcb Shimoni Finkelstein in Tel Aviv); and, Chris Schofield, Creative Director at Draftfcb New Zealand, will be a Radio juror. The network also sponsored the Roger Hatchuel Academy, and they hosted the seminar "6.5 Seconds That Matter" at the Debussy theatre this morning which had people raving.

Gustav von Sydow founded Burt which has already produced Copybox, a tool that can be described as photoshop for copywriters and now they've launched RICH, or "metrics that matter". Rich can run on any ad network or ad server, it's a third party tool that produces faster and better metrics, allowing you to watch in realtime how your online campaign is coming along.

DB:If Rich was an appendix - what body part is it?

von Sydow: If you by this mean an organ, I would say the brain. Not so much that Rich is clever on it's own (although it's not entirely stupid), but since it provides a memory of what has happened and let future actions be.

How does Rich work, technically?

Agencies add a piece tracking code to the ads or widgets they want to track. It takes a couple of seconds - in Flash it's a simple drag and drop. When the campaign goes live the ads report information to our servers, which we analyze and present to user in an easy-to-understand web application.

"Fail forward" - a clever way of condensing learn from your mistakes, is this what Rich helps you do? Move on from mistakes faster?

It's really not about the failures, you can learn a lot from success too. The key concept is *learning*. Rich enables a quicker feedback loop, where all people involved in a campaign - from planners to designers - to better understand how online media works and consumers respond to their work.

You were a planner, and Rich is tailored to be used by planners and creatives rather than suits who are quite adapt at dealing with digits and graphs already. Now that it exists, it's such an obvious hole in the market you've filled here - why didn't people think of this before? What
made you do it?

Most companies in our space probably don't share our motivation. For instance, we've experienced the challenges of integrating metrics and continuous learning into the creative process. We had the itch, and scratched it. If you look at it from a purely technological perspective, a lot of what we are doing have been done before, both in and out of advertising. It has also to be proven to be very successful in driving effect.

However, what we bring to the table is making advertising technology more accessible to a broader set of audience. I think the key insight driving us is that creatives are super interested in both advertising technology and metrics, but in order for them to use it on a daily basis we need to make it easier to use and understand.

abandoned advertising

new advertising

When I first laid eyes on that epic "Write the future" Nike ad, my brain bubbled up with questions before the ad finished playing, The usual How'dtheydothat!?, to did I just spot a "Finnegans wake" reference in that the first shot and last shot could follow each other, starting the ad over again?. And of course how on earth did they get The Simpsons in there!?, as, hello, that was rather unexpected and really hilarious.

Luckily, Mark Bernath, the co-creative director for “Write the Future” from Wieden+Kennedy Amsterdam decided to humor me and answer some of them. There are a millions details in the ad that entertain me, from Focus 70s hit "Hocus Pocus" playing during the Rooney bit, to the sudden selling of "Ron's Samba Robics" on infomercial TV, to Homers timely "Do'h!". This ad isn't just one idea, it's one hundred little ideas, in one single ad.

Hazelle Klønhammer Managing Director Grey Amsterdam

Grey Amsterdam sounds pretty dull and.. yes, grey - but the local Dutch arm of the network located in an old Waterworks building creates work that is anything but watered down. With a swift injection of international talent and leadership, this hybrid international/Dutch agency may be the one that will finally bridge the gap between the internationals and the locals in the Amsterdam advertising scene.

When the British ECDs - Colin Lamberton and Seyoan Vela - went to Grey Amsterdam they needed an MD who was sharp as a tack like themselves, and with MD Hazelle Klønhammer from Australia they got it. As bonus she brings an even larger international perspective. Hazelle Klønhammer has not only worked at international agencies such as 180, Wieden+Kennedy and Modernista! in Amsterdam since the nineties, she has also wisely taken breaks from the grind to immerse herself in other cultures on travels to exotic destinations, from Vietnam to India. Her outlook is one of permanent curiosity and genuine interest in people, fresh and eager to learn more, and she is totally unfazed by cynical ad manners that so often dog those at the top. She still falls in lust with every product or service she is working on, learning everything she can about the history of a company and loving every minute of it like a kid just out of ad-school. Make no mistake though, she is a people-person, not a product-pusher who fails to see where the brand lives: which is in peoples minds.

DB:- "We were talking about travel, it made me wonder if to be a successful MD, is there an advantage to get a fresh outlook by experiencing different cultures?"

Hazelle Klønhammer: "Absolutely, I just think people are fascinating you know, to see how some people process different information, and their reactions to things."

"When I moved from Australia to Holland, when I worked at Weiden with all these different nationalities - French, Italian, Spanish - you'd get so many perspectives on a brief. Working on a beer brief, say - beer culture is different in Italian, Australian and Swedish. The more you travel, the more people you meet, you just learn about how people operate. I think that's very helpful in business, because everybody comes with own their set of expectations, their way of doing things. And if you can take a step back from that, try and understand how they are perceiving things from their perspective it really helps so much. Not just in any new business, but also in dealing with staff.

Because what is an agency? It's a bunch of people. What are clients? A bunch of people. How can you make connections with them, how can you understand them? Just by paying more attention to how they work culturally..where they are coming from.

At Boards Summit this morning, Cindy Gallop ( @cindygallop1 ) spoke about her subjective ideas on the future of advertising, adding "Anyone who disagrees with me, we can take it outside later". With real time reactions to a clients work, transparency isn't just a catch-phrase, it changes the way the industry operates. You can no longer be inconsistent, everything your brand does you're accountable for.