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Tag Archives: JOB HUNTING

The Monday Morning WHIP // 67

When was the last meeting you organised with someone in your industry? Did you go ahead with it or chicken out? You’d be surprised how often the latter happens to Stan (http://branddna NULL.blogspot NULL.com/)…

When you make an appointment with someone to show them your work be sure to ask them for a number to contact them just in case something comes up.

The day before your appointment, I’d recommend you give the person a call to confirm your appointment.

After you have done both of the above, my advice is to actually turn up for the appointment. Yes, turn up.

I know it sounds like an obvious thing to say, but in the last month I’ve had a couple of people make appointments to show me their folio and fail to turn up.

Suffice to say if they ring me again I will not be making time in my seriously busy schedule for them.

I’m not telling you how to suck eggs kids, but you need to realise looking at junior folios is pretty low on the priority list for most senior people. So if they offer to make room in their schedule for you, don’t waste the opportunity.

WHIP | Also tagged FOLIO, WHIP

Tag Archives: JOB HUNTING

The Monday Morning WHIP // 66

A lot can happen in an instant. You could change someone’s mind, or make them happy, or impressed, charm their pants off, make them smile, or just feel good. But don’t confuse them, because Stan (http://branddna NULL.blogspot NULL.com/) knows what he’s on about, and that won’t get you a job now will it?

For this week’s Whip I must tip my hat to Simon Veksner (http://scampblog NULL.blogspot NULL.com/) of BBH in London, whose headline I stole and whose wisdom inspired this piece.

When you sit down in front of someone to show them your folio you are at the mercy of their finger.

Believe it or not, a finger can flick through folio pages faster than the brain can think.

So you need to ensure your ideas are so simple and so clearly laid out that the person looking at them gets them before their finger goes to turn the page.

If your folio is messy. If your layouts are cluttered. If your headlines are not legible. Then your work is not instantly gettable.

And unless your work can be gotten in an instant, you will never beat the finger.

WHIP | Also tagged FOLIO, WHIP

Tag Archives: JOB HUNTING

The Monday Morning WHIP // 59

Looking for a job can be a real drag, man. Heck, even thinking about looking for a job takes a lot of effort sometimes. And we should know–we’re slack just like the rest of you bananas. But you don’t have to make it that hard for yourselves, jeeeeeez. Listen to Stan (http://branddna NULL.blogspot NULL.com/) and give yourself a chance.

Imagine you’ve heard about a job opportunity at an agency in town. You ring up, put on your best telephone voice, and snare yourself a chance to come in and show your folio.

What next?

Well from what I’ve seen of late, you probably wait until about an hour before your appointment, dig your dog-eared folio out of the cupboard and then head off to show it.

And you wonder why you don’t have a job?

Firstly, your folio needs to look as good as it possibly can. So think about which work goes where, how it’s positioned, etc.

Next, make sure you and your folio have a point of difference. Yes that’s right, a point of difference.

Something to help you stand out. Something to remember you by. Something that says this kid’s a little different to all the other young folio carrying wannabes.

I can’t tell you what that point of difference should be. Only you can determine that. But to get one, you need to think of yourself as a product, then put together a brief to create your personal brand.

And like all strong brands, you will have a clear point of difference. Because if you don’t, you’ll probably end up gathering dust on a shelf somewhere.

WHIP | Also tagged ADVERTISING, DESIGN, WHIP

Tag Archives: JOB HUNTING

The Interview Series // 28

Alright, alright. We know what you’re thinking, “Another ad-guy? When you kids gonna get over this ad-schmer-tising thing, huh?” Well you’re right. Evan Fry (http://evanfry NULL.com) is an ad-guy. But he ain’t just any ad-guy–he’s a true-blue award-winning ex-Creative Director of Crispin Porter & Bogusky (http://cpbgroup NULL.com/) style ad-guy, and he has some good shit to say, so chill out, bro. That sort of heritage makes him better than most ad-guys, who on the whole are a dime-a-dozen, and definitely don’t look this good with a head wrapped in ostrich feathers. He just left CP+B to start up the world’s first ad agency utilising the power of crowd-sourcing, named Victors & Spoils (http://victorsandspoils NULL.com/). That’s pretty cool-magool if you ask us. You know what else makes Evan cooler than most? He’s an old-school copywriter. Which tends to be rare these days. So if you’re one of the few who want to take up the lost art of copywriting, listen to what Evan has to say. You can actually use his advice–which is darn considerate of him, seeing as most of these so-called ‘ad-guys’ have a lot to say about nothing. In summation: Evan Fry ain’t just your average ad-guy, he’s a super-talented old-school copywriting mega-machine, and wants you to Be Fucking Awesome (http://befuckingawesome NULL.com/).

Junior: We heard somewhere that you’ve got a crazy story about getting a job at Crispin Porter + Bogusky (http://cpbgroup NULL.com/). Apparently it’s a ‘doozy’. May as well tell us the whole thing!

Evan Fry: Sure. But it’s a long one. It basically began with me having been fired from the job I had and sending my book to Crispin. At that point, this was the spring of 2002, I had been a writer/ACD for 8 years already, and I wanted to work for CP+B more than anywhere else–so I sent my book. About a month after I sent it in they returned it to me with a form letter, “signed” by Alex Bogusky (http://alexbogusky NULL.posterous NULL.com/) himself. It was encouraging, but standard. Very professional of them to be that on top of their shit, I thought. And then I forgot about it. About two months later, after becoming a bit bored of not getting much play from the shops I truly wanted to work for, I had an idea: what if I acted as though that letter really was a sincere letter from Alex to me, and started sending him weird notes from the stance of ‘jilted-lover-gone-psycho-at-not-getting-any-more-letters-from-Alex’?

So I got some really precious stationery like a grandma might use, a super nice calligraphy pen, and went to it. My thought was keep them short, keep them anonymous, and keep them weird. And not think for a minute that Alex himself would ever even get them. I think the first one said, in really weird cursive, “It’s been two months since you last wrote me, Alex. Don’t you love me anymore, Alex?” Nothing else. A few days later I sent another one. And then another, after a few more days. For the fourth one, I reduced a photocopy of the original form letter he’d sent me, but used black permanent marker and inked out my name on it. I accompanied it with a psycho note on the psycho stationery that this time said, “Perhaps by now, Alex, you’re wondering who the hell I am? Well maybe I’m a lot like you, Alex.”

Four days later as I was thinking about how to take it up a notch, I got a FedEx delivery. It was from Miami. When I opened it, it was clear something was weird. There was another envelope inside. And then inside that envelope was a Ziploc bag. It had the vibe of an evidence bag like in lawyer movies. I opened the Ziploc and there was a Photostat-camera blowup of the part of the form letter I’d sent where I’d inked out my name. But by blowing it up 10 times, its size had revealed the name under the ink. ‘Evan’, just huge. Stapled to it was a copy of my letter, and in red ink someone had circled “… who the hell I am.” And that was it. It was all just one big fucking “touché, motherfucker. We got you.”

I was psyched beyond belief. Because all of a sudden I had concrete proof that not only had my letters been getting to him, but they’d been actually getting to him, you know? And he took some time and effort to play the game. So I immediately loved Alex. And the day after I got the envelope, Veronica Padilla, his assistant at the time, called for my book again. I thought I had a job in the bag, or at least a flight out. But it didn’t work like that. I didn’t hear anything for weeks.

By then I’d started a whole other self promotion idea where I was mailing a weekly photo of myself to the top 30 or 40 creative directors around the world who I wanted to work with. Each one was literally just a 4×6 photo – showing how much time I had on my hands. Like, in one I was having a tea party with stuffed animals. In another I was drinking tallboys with bums on the street. On the back of each, every week, I wrote in pen something that went with it, like, “God I need some work,” and I’d include my phone number.

So I had these going on, and was also sending them to Alex. But I still didn’t hear from him. However the photos were working, and I was getting a lot of great freelance so I didn’t care as much, although CP+B was still where I really wanted to be.

About six weeks later Alex himself finally called and said, “I’ve been meaning to call you, why don’t you fly out.” I did, and had a great interview. Thought I had it in the bag for sure, and… didn’t. He didn’t have a slot for me. So I kept the weekly photos going, kept freelancing, and then four months later I was freelancing at Mad Dogs & Englishmen (http://www NULL.maddogsandenglishmen NULL.com/door NULL.html) in San Francisco and got a message on my answering machine. “Hey Evan, it’s Alex, call Veronica back and tell her the code word is pineapple.” I called her back and she said Alex wanted to offer me a job. It was literally one of the best days of my life. P-e-r-s-e-v-e-r-a-n-c-e.

Jr: Wow. Ok. That definitely is a doozy. It’s nice to see someone with experience and good work struggle like the best of us. In fact, your website mentions that at twenty-six you “weren’t exactly setting the advertising world on fire”. How did you push through that? Did you ever want to give it up and go mountain biking for good?

E: Oh man, you got that right. Actually, a few times. I got out of school from the University of Oregon and unlike my partner in school, Glenn Cole, I didn’t take a good job out of school. My book was shit and I spent a year working on it but the only job I could land was at the ‘third biggest place in Portland’ – which basically means nowhere you’ve ever heard of. And even though I only stayed there a year, it seemed my destiny was sort of set. I couldn’t get play in the Weidens (http://www NULL.wk NULL.com/) or the Goodbys (http://www NULL.goodbysilverstein NULL.com/) of the day, so I was just floating around at the mediocre places, like 95% of us.

I moved to San Francisco in 1996 and experienced more of the same. But I moved to be in a bigger market with more chances. I kept at it, kept trying, and just didn’t give up. I guess that’s why I ended that last question by saying perseverance. That’s really the only answer when you feel like you’ve got what it takes, when you know that in your heart. If you know you’re good and you know you’re smart but can’t seem to get a break, you’ve got to prove how smart you are and make your own break. I’m 100% convinced of that.

Jr: You’ve written your entire career. But a lot of young people aren’t taught hardcore writing anymore. From our experience, advertising education tends to be more ideas-focused. What advice would you give to young writers?

E: I think this is true. I went to a School of Journalism program, and was lucky enough to be a decent writer just inherently, I dare say. And then in school at University of Oregon, I was also lucky to have two great ad professors who were classically trained. So the mix was pure writing and grammar, mixed with classic concepting classes, and barebones, fucking copywriting courses. It didn’t hurt to have Dan Weiden (http://danwiedensuperdad NULL.blogspot NULL.com/) himself teaching a couple of intensive seminars. But today, you’re right–ad programs stress concepts first, at best. Copywriters today, I swear to God, most of them shouldn’t call themselves “writers” at all. But it’s not really the game now, nor is it anyone’s fault really.

The advice I would give is to read a lot. And to pick up the book Grammar for Journalists (http://www NULL.amazon NULL.com/Grammar-Journalists-E-L-Callihan/dp/0801968232) and study it like there’s going to be a quiz on it every day. I’d also say to use self-discipline. And read The Book of Gossage (http://www NULL.amazon NULL.com/Book-Gossage-Howard-Luck/dp/0962141534). Teach yourself. If you’re a copywriter who can actually write, you’re set for life. Love the headline, love long copy, do it all the time, get better at it, write hundreds of options for each headline idea. Treat it like a craft. That’s what it is. I still love to write ads.

Jr: Do you get the urge/time to do any writing or other creative stuff outside of advertising?

E: Nope. I really don’t, not writing. I get the urge to do other things besides advertising though. And I do those things. It’s why I started sharklove.com (http://sharklove NULL.com/) and also befuckingawesome.com (http://befuckingawesome NULL.com/). Be Fucking Awesome, especially, is just a labour of love. I kept having this idea where I would write a book that would be a sort of “guide for living.” I had this idea for a title and it was “How to Be Fucking Awesome.” This was while I was really cranking at CP+B, on the road producing all the time. So I didn’t really have the energy to do it, but I bought the URL befuckingawesome.com (http://befuckingawesome NULL.com/) and felt good enough about doing that. Then I just sat on it for a couple years.

Finally I had John Parker, my partner at the time and now a CD at W+K New York, do up a branding identity for BFA. He rocked it. And it sat there again. Then I had the idea to tweak it into a social network of sorts where you could post your Fucking Awesome deeds, let the world vote on each one, and those votes would contribute to your Awesome Quotient. So then I fucking had to do it. And that’s what I did. I found another amazing designer to help with the design, a fantastically talented developer, and sunk a lot of my own money into paying him to develop it. It’s been live now since the end of September. It isn’t really taking off the way I’d hoped, but I am learning a whole lot from it and know what to try to make it take off more. It’s really satisfying, in some ways. But mostly, it’s just a massive learning experience.

Jr: So, now that you’ve left CP+B to start your own agency, what can the world expect from Victors and Spoils (http://victorsandspoils NULL.com/)?

E: Good question. I think the world can expect to see a viable new way of coming up with ideas for the advertising industry. A way where the clients feel like they get the service and attention that traditional agencies give, but ideas and work that is devised from a much broader base of amateurs and/or the users of their products and services–then directed and shaped to be on brand and on brief. So it’ll feel like an ad agency to the client, but engage the world to help solve their business problems. What we’re trying to do is show that there is a new way of doing things. A way that works and can let more people into the process. We’re all savvy critics of ads and marketing communications nowadays – because we’re exposed to it from birth. There are a lot of people out there who could be really good at it, and we want to give them a way of working on things just like those of us who went to school to become experts. There’s a shitload more to it than that, obviously. But the world can expect some really interesting briefs to work on for some really interesting clients. At least.

Jr: The business model you guys described on launch, was anything but ‘more of the same’, but there’s going to be the inevitable detraction from folks not into the whole model. Are crowd-sourcing naysayers the new ‘30-seconds-of-TV-is-the-only-media-we-need’ dinosaurs?

E: I don’t know; that’s a good question. There are naysayers out there. Basically what the internet gives people is a voice, and they love to use it to say how dumb everything is that isn’t their own idea. I learned pretty fast after we launched that I just had to turn it off, it was exhausting trying to answer or consider everyone’s points. Which we still care a lot about, but so many people were just being so aggressively mean and negative, so full of hate, that we realized very fast that no answer would satisfy the vocal minority. It’s one of the most loaded issues out there right now and because we consciously launched with as much hoopla as we could create, we became the brightest bull’s-eye. It’s cool though; we intend to just continue doing our thing and trying to get some good clients and craft briefs that let people play with brands if they want to. If they don’t want to, that’s cool too.

Jr: How does a junior (or anyone for that matter) get a shot at working for a hot shop like CP+B or Victors & Spoils? Can you give us five awesome tips?

E: What if I give you one tip and explain the shit out of it?

Jr: Evan, you do what you feel…

E: Good.

1. Get really good at the craft of being a creative.

- Write down everything. Take notes as you learn. Take notes as you concept.

- Doodle as you think. Keep the pen moving.

- Do lots of options for everything. Only through looking at it can you know if something is better or worse than what you already have. Look at it.

- Take it seriously; don’t expect it to come easy. Focus on the brief. Do “concepting intervals” where you focus and write every idea down. Then have a break. Then get back to it.

- Sketch everything. Go analog. Don’t fucking concept on your fucking laptop. Pad of paper. Pen or pencil. You alone, or you and your partner. Find somewhere to get in sync and focus and riff. When writing headlines, that’s when I think writing on your computer is good. But try using all caps, or two spaces between each headline. Treat it like art, and have some pride for how the words look. Do a bunch. Edit them a little. Do a bunch more. Edit a little. Repeat. If you’re building your book, keep the presentation simple. But don’t ignore the presentation.

Jr: Is there life after advertising? Should advertising be a means to an end?

E: For me, I think there has to be. For anyone, for sure there can be. Depends on how much a boner it gives you, I guess.

Interview by: Pete Majarich (http://petermajarich NULL.com NULL.au/)

ADVERTISING, THE INTERVIEW SERIES | Also tagged ADVERTISING, COMMITMENT, COPYWRITING, CP+B, CREATIVITY, FOLIO, SUCCESS, THE INTERVIEW SERIES, WRITING

Tag Archives: JOB HUNTING

The Monday Morning WHIP // 58

What’s your excuse for not visiting every Creative Director, Senior Creative, Group Publisher, Studio Manager, Design Director and Big Wig With Advice to Give that you can guess the email of? It better be good, because if it’s not, you’ll meet someone like Stan (http://branddna NULL.blogspot NULL.com/) in the real world–and they might not be this helpful.

Once upon a time a kid rang me to ask if I’d take a look at his folio. When I asked him what sort of folio it was he ummed and awed before replying that he wasn’t sure.

When I asked him why, he said that his was just a black plastic one that he’d bought at Officeworks.

As you can imagine, I pissed myself laughing.

I then explained to him that what I actually wanted to know was whether he was a writer, an art director or a photographer.

“I’m a writer,” he said.

So I told him that whenever he rang people up to look at his folio he should always say up front that he was a writer.

“But what if they’re not looking for a writer,” he said.

My answer was the same piece of advice I have given many times over the years;

Don’t show a folio with the expectation of getting a job. Show it with the aim of asking for advice on how to make it better. Because the better your folio gets, the better your chances of getting a job.

ADVERTISING, WHIP | Also tagged ADVERTISING, FOLIO, HUNGER, JOBS, WHIP

Tag Archives: JOB HUNTING

The Monday Morning WHIP // 57

Hey everybody! We’ve got ourselves organised for 2010. This year is gonna be great! Stan (http://branddna NULL.blogspot NULL.com/)‘s back with more weekly whip’s, we’ll be posting a new interview every week, and we’ve got a handful of new columns to surface over the next month. But enough of that hoo-hah–listen to Stan! Get to work! Do stuff!

I thought I’d kick start the year with a little tale about how getting off your arse and simply creating stuff on a regular basis can help get you a foot in the door of whatever creative industry you aspire to be a part of.

About 18 months ago I was at a brekky gathering in Sydney, where I met Annik Skelton (http://annikskelton NULL.com/). At the time she was doing some mundane job that she thought would involve creativity but didn’t.

Like many of the people I meet nowadays we hooked up on Twitter.

Over the course of last year she has kept me, and I’m sure many others, entertained with her surreal Twitterisms (http://twitter NULL.com/neekatron) and seriously off the wall blog posts. The girl can write, no doubt about it.

Seems I wasn’t the only person who noticed, because late last year she was hired by new Sydney agency Tongue (http://www NULL.campaignbrief NULL.com/2009/12/tongue-lashes-out-on-hiring-an NULL.html).

In the agency press release about the appointment they described Annik as, “a well-known Twitter personality, notorious for her tongue-in-cheek commentary and unique methods of story-telling.”

So there you go kids. Next time I tell you to just go off and create something, do it. Because the more stuff you put out there, the better chance you have of getting to wherever it is you want to go.

WHIP | Also tagged ADVERTISING, COMMITMENT, HUNGER, JOBS, WHIP

Tag Archives: JOB HUNTING

Junior Event // 13

How great is Thousand Pound Bend (http://thousandpoundbend NULL.com NULL.au/)!? It’s such a versatile venue. It feels like our home with all those couches and bedraggled furniture scattered about. Within this house of comfort and mirth we hosted our December event, presided over by none other than our old friend Stuart Geddes, one of Melbourne’s most visually articulate and clever designers from Chase & Galley (http://www NULL.chaseandgalley NULL.com/). Luckily for those who weren’t there, he’s sent us a copy of his ten tips in ten minutes, which you can download here. If it doesn’t make any sense and you’ve got questions — email us. We’ll tell you what he said to accompany the pictures. It’s only fair.

See you in February everyone!

DRINKS | Also tagged CHASE & GALLEY, DESIGN, DRINKS, FOLIO, INSPIRATION, MELBOURNE, STUART GEDDES, SUCCESS, THOUSAND POUND BEND

Tag Archives: JOB HUNTING

The Monday Morning WHIP // 54

whip54

Most advice we juniors receive these days is so predictable. It’s always the same old cliches spoken by the same old people who have nothing better to tell us than, ‘Be your best’, ‘Believe in yourself’, ‘Think big’, or, ‘Never give up’ — Goodness me! That guff helps no one. Lucky for you Stan (http://branddna NULL.blogspot NULL.com/) doesn’t think that way. His advice is always practical. ‘Make phonecalls‘, ‘Have realistic expectations‘, ‘Don’t expect lots of money‘, and now some advice you’ll likely need — ‘Take the job’.

A young art director came to see me for some advice last week. After many months of job hunting and folio showings, she had been offered a position at a small agency.

Thing is, she wasn’t completely sure that she should take the job.

I asked her the name of the creative director and, as I expected, it was someone I had never heard of.

Next I asked her whether or not she had hit it off with the creative director and she said she had. She then went on to say how he had been very encouraging of her and her work.

So I asked her why she had come to see me. Turns out she wanted my advice on whether or not she should take the job.

This is quite common amongst aspiring creatives. As you can imagine, most kids want to work at big name agencies and hot shops. Can’t blame them for that.

But the reality is that creative opportunities are few and far between. So if you get offered a job at a shitty little agency no one has ever heard of, my advice is to take it.

Just don’t stay there too long.

Treat it as an apprenticeship. Use it to build your craft skills. And make good use of studio equipment to build a folio good enough to get you a job at a better agency.

Because you’ll learn a lot more actually working than you ever will sitting at home fine tuning your folio.

ADVERTISING, WHIP | Also tagged JOB INTERVIEW, WHIP, WORK

Tag Archives: JOB HUNTING

The Monday Morning WHIP // 53

whip53

If there’s one thing we’ve learnt about Stan (http://branddna NULL.blogspot NULL.com) in over a year worth of WHIPS, it’s that he loves a football metaphor. See exhibit A, B, C and D. So when we saw that Frenchman playing european handball (http://www NULL.guardian NULL.co NULL.uk/football/blog/2009/nov/21/thierry-henry-handball-france-ireland) with a soccerball last week, we just knew Stan would find a way to write it into this week’s WHIP. So here you are kiddies. Learn a thing or two.

Much fuss in the sporting media this week about French footballer Thierry Henry committing a professional foul to help get his team through to the World Cup in South Africa next year.

For those of you who are not familiar with him, Henry is an exceptional talent. A creative genius on the football field. Yet he chose to cheat (http://i NULL.dailymail NULL.co NULL.uk/i/pix/2009/11/19/article-0-0746AED1000005DC-99_306x423 NULL.jpg) in order to help his team win.

Now I do not wish to condone his behaviour, because he is a dirty cheating Frenchman, but in order to achieve the ultimate prize you need to follow the mantra of Malcolm X – By any means necessary.

If you want a job, you need to be prepared to do what it takes.

And if what it takes is a little bending of the rules, bend them. If what it takes is a bit of brown nosing, then go get brown. And if what it takes is to lie, then be prepared to be a little loose with the truth.

Because if you don’t, somebody else surely will.

ADVERTISING, WHIP | Also tagged ADVERTISING, FOLIO, FOOTBALL METAPHOR

Tag Archives: JOB HUNTING

The Interview Series // 25

Man or machine? Leo’s glowing global reputation as a ‘wunderkind’ will have you believe the latter. It was our supposition that surely he must be human — mortal and unfunny in real life — just like you or I. We ventured to New York City in order to find out, and the story goes thus: Three short years ago, Leo and his creative partner, Jan Jacobs, were anointed Saatchi & Saatchi New York’s joint Executive Creative Directors. At the time Leo was just 28. They left after one highly awarded year, joined forces again to set-up their own NYC-based agency, Johannes (http://www NULL.johannesleonardo NULL.com/) Leonardo (http://www NULL.johannesleonardo NULL.com/), and have been working harder than you in the two years since. Leo and Jan have created some of the naughties’ most awarded, hilarious, insightful, haunting, and incredibly succinct advertising you’ve likely seen or heard in London and the U.S — ads like this (http://adland NULL.tv/commercials/nspcc-ventriloquist-2003-060-uk), this (http://www NULL.youtube NULL.com/watch?v=YMkkQO5HUXM), this (http://www NULL.youtube NULL.com/watch?v=X2cs8gnb42A) and this (http://www NULL.youtube NULL.com/watch?v=k6z3bGILwMg) — winning many lions and other assorted animal like statues. The jury is still out on Leo’s genetic make-up, for at the interview, Leo spewed mythical reams of advice from his lion-like mouth, then galloped off into the sunset laughing like a hyena. The Junior team turned to one-another, wide-eyed and mystified, mouths gaping like hungry, hungry hippos, gasping for air. Are we making this up? Yes. Without further ado — Leo, Leo, bo-bio. Banana-fanna-fo-fio. Mee-my-mio. Leeeee-o.

Junior: Hey Leo! Sorry about that ridiculous intro — our intern wrote it. He’s nuts. So first we wanna know, how did you get into the ad game? What was your journey from raw junior to respected senior?

Leo: It’s a little odd… I was coming out of an operation; my appendix had burst hours before I was due to board a plane to Germany for professional football trials. I woke up from the anesthetic with an advertising idea and my decision was made. I stuck to advertising. Which was a good thing because I wouldn’t have stood a chance at the whole football thing.

A couple of years before that I had been selected as one of the AFA trainees out of university. It probably helped to have an understanding of how the entire process worked from media, to strategy to account management. But it was most useful in making me absolutely desperate and determined to work in the creative department because I quickly realized I didn’t want to do any of those other things for a living.

Jr: We’re dying to know if have any stories from your time as a junior when life sucked? Any horror book crits or moments of creative block that made you reassess life and what you were doing?

L: Sure I did, I think everyone does. Don’t be intimidated by thinking creating great work comes completely naturally to some people. Truth is, anyone who is any good has spent hours and hours perfecting their craft and if they tell you otherwise they’re full of it.

And the same goes for ‘creative block’. I don’t want to sit here and say I never have it, of course I do. I think the trick is to try and not see it as ‘creative block’. See it as something that happens to everyone, something you just need to work through or come at from a different angle.

Jr: Wow. Yes. You have no idea how relieving that is to hear from you. You know what else is intimidating? Awards. Obviously you’ve won a lot. Everyone has their own take on what they mean and what they should mean. 99% would agree they mean nothing when compared to ‘creativity’ or ‘effectiveness’ or ‘selling lots of shit and making your client happy’. How important have they been to you and how should we as juniors approach the current award industry?

L: I remember being about 25, at Cannes for the fist time and winning 4 or so Cannes Lions. I realized pretty much right then and there that awards weren’t going to keep me excited about getting out of bed each morning.

At the end of the day the most important thing for any junior to do is understand what sort of creative person they want to be. Then to strike that balance of getting enough respect and trust to actually one day be able to create that path for yourself.

Personally, I believe award shows matter less now than they once did. Partly because there’s so many of them, and partly because everyone has a gazillion of them, including students, but more importantly because why would we care so much to see what a panel of 20 or so people think when we have the opportunity to see what millions of people think about our ideas?

The true reward for our creations now is seeing how they effect and touch the public.

Jr: Ah yes! But! If that be true, are award books worth looking at these days for inspiration or an education in ideas?

L: I think it’s important to know what’s been done before, and what hasn’t, to know the rules so you know how to break them, to know the history of work and of a category. As a junior you should soak up all the inspiration you can get.

I’d just say don’t try and replicate the stuff you see in books. We live in unique and as they say exponential times. Things are changing quicker than ever before, so what was good a year back has never become so old so quickly.

True inspiration though — that’s not in award books. It’s around us in the world we live. But if the books can help make the work better year upon year, and ultimately the stuff we force into the public’s face a little less crap, then I guess we should take them any which way we can.

Jr: Someone once told us, “Leo is a genius. He was also supported by brilliant ECDs at every agency he went to.” How important have your mentors been to how you approach your work and what should juniors look for in a brilliant mentor?

L: Absolutely crucial. Whenever I see a junior unsure of which agency to join I tell them to focus on the individuals there. Ultimately it’s the individuals there who will help guide you and who define those places during the time they spend there. I was lucky enough to work under some great ones, but even more than that I got to work alongside some as a junior writer. With Toby Talbot at Colenso BBDO and of course a few years later working with Jan at Saatchi & Saatchi London.

So I’ll always be appreciative of how much time senior creatives gave me when I was knocking on their doors with a bad portfolio. Granted I could be an absolute pain in the ass so it was probably easier to see me than not back then. There are great people out there, generous with their time and passionate about their jobs, it’s really just a matter of tracking them down and feeding off them.

Jr: Could you possibly speculate how important working internationally has been to your career? Can you imagine if you had stayed in Australia and where you might be now?

L: Probably a much better surfer than I am these days…

Advertising is a great vehicle to check out the rest of the world. But the strange thing is wherever I’ve ended up I’ve always been glad that I started out in Australia. When there isn’t a whole lot to rely in terms of budgets, production time and global media buys you’re only left with the strength of your idea so that’s what you focus on. Once you’ve learnt how to make your idea bullet proof, all those other layers, they only make your original idea better.

Jr: What’s your best advice for dealing with politics within an agency, both dealing with others and fighting for ideas, especially when you’re at the bottom rung of the hierarchy?

Work for someone you believe can spot good ideas. It’s that simple. Chances are part of the reason you got into this industry is because you realized the work rules. So take advantage of that as a junior. My advice would be don’t worry about the other stuff. More and more the true power will lie in the hands of creative people, and we all know the best ones aren’t political.

Jr: Obviously there are a lot of kids coming straight out of ad schools today with the same work for the same old clients with the same witty headlines and such… What are you looking for in a junior and what can those graduating from the ad schools do differently to stand out and impress someone like you?

L: The best way I can think to explain that is with something John Lennon said. He was once asked why he wrote music and he responded by comparing it to writing a letter. Writing the letter, he said, got him excited but what he really got off on was the response he would get to that letter. That’s it at its essence. We’re looking for people who have that thing inside them, that urge to touch people with their ideas, those who live for simplifying things down to a common language that effects people, deeply and broadly.

Of course, now you’re also trying to stand out during the biggest recession of our lifetimes. But I believe that soon this will be an advantage to the kids coming through. History has shown that when the slate is clean, when things are being re-appraised, and it’s happening on two levels in our industry right now – on a technological and an economic level, it’s the turn of the new guard to step up…

So don’t underestimate yourself, don’t set the bar at junior thinking. You’re competing with every kid out there with a digital camera and internet access. We live in a democratic era of communication, a time of accessibility and participation, where big production budgets can in some cases be more of a burden than a gift.

Jr: Generating ideas – what’s your process? Have you got any crucial tips to tackling a problem creatively?

L: I ain’t got any secrets. It happens differently every time, that’s part of the fun. I don’t really keep shortlists of my ideas. I know if it’s good enough it’ll stick around in my head – Jan calls it ‘the volt’. I would say though, don’t ignore the things that on the surface don’t seem crucial to creating great advertising. Like, spending time to identify what the real problem is – not just the advertising problem but the business problem, and embracing the limits imposed on you. It’s often there the real gem lies.

I also think it’s important to keep in mind, especially as a junior when you don’t have a ton of production experience that as big and important as coming up with the great idea, is understanding what about it will keep it great. Another reason why it’s so important which creative director you work under.

Jr: OK, enough of that cliche ad-guy question guff — how the hell do you live a balanced life? You obviously work really hard. Is that something that comes naturally or do you have to sacrifice things to make your life liveable outside of hard work?

L: Hard work has never felt like hard work because it’s something I’ve always loved. Reducing something down to is most basic form, I’m not sure how many other professions there are where you have the same tools as anyone else in the business irrelevant of your experience – a blank pad and a pen.

So for me loving what you do is the most important ingredient really. If people advise you against being a creative don’t listen to them, listen to your heart. If you’re passionate enough about what you do, you’ll work hard enough at it and the skill will eventually come. Just make sure you’ve instilled a healthy effort reward ratio. By that I mean make sure you’re always working on something you’re excited about – which usually means something you haven’t done before.

Jr: How far into the future do you look? You’re not that far past thirty and you’ve already achieved more accolades than many people achieve in their entire careers. We know you probably don’t buy into that sort of statement, but where to next? How often do you need to reassess your career and where it fits within your entire life? Do you even think about that shit?

L: I was made ECD of the Saatchi & Saatchi New York office when I was 28, and I remember when I would walk there across west 4th street, there was a faded chalk scribble that would always catch me out. It simply said ‘where are you going?’. Every time I read it, it made me think: where was I going? To another meeting? To a corner office? Over time, without me realizing it, I think these four words embedded themselves into my subconscious.

So when I look back on it now Jan and I left Saatchi and Saatchi because we kinda had this feeling inside we weren’t being pushed as much as we could be. We began directing a couple of things and really enjoyed that as a distraction. But we knew there was a bigger issue on the table. We felt the world around us was changing quicker than the big agency model could, and us if we stayed in one. So even if you don’t intend to look far ahead, I guess there’s something inside of us that does.

Best of luck juniors, I hope this helps.

ADVERTISING, THE INTERVIEW SERIES | Also tagged ADVERTISING, CREATIVITY, HUNGER, INSPIRATION, NEW YORK, SUCCESS, THE INTERVIEW SERIES

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