Lürzer's Archive

148 Pages·2011·22.07 MB·English

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Contents
AArrcchhiivvee NNoo.. PPaaggee AArrcchhiivvee NNoo.. PPaaggee
Audio Pharmaceuticals & OTC
Onida 3.1104 13 Tulipan 3.1106 85
Samsung 3.1105 14 Gelomyrtol 3.1107 86
Seridan 3.1108 87
Automotive Aspirin 3.1109 88
Jeep Wrangler 3.1121 15 Dovobet 3.1110 89
VW Apps 3.1122 16
Mitsubishi Montero 3.1122 16 Public Events
VW Rear Assist 3.1123 17 Kino Pavasaris 3.1105 91
Audi A3 3.1124 20 Cinemania 3.1106 92
Bridgestone 3.1124 20 Fancine 3.1107 93
Pajero 4x4 3.1125 21
4
2 Bridgestone 3.1126 24 Publishers, Media

4 Troller 3.1127 25 Feeling 3.1117 95
2
5 Fiat Ambulance Line 3.1128 26 The Zimbabwean 3.1118-19 96-97
71 Eaton 3.1129 27 Prime’s “Antiques Roadshow” 3.1120 98
1 Rampage 3.1130-31 30-31 L’Etudiant 3.1121 99

3) Toyota Yarsih 3.1131 31 Lürzer’s Archive 3.1122-23 100-101
4 Mercedes-Benz 3.1132 32 ESPN HD 3.1124 102
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: DFM 3.1133 33 SonntagsZeitung 3.1125 103
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N VW Park Assist 3.1134 36 The Sunday Times 3.1126 104
O
H Cadillac 3.1135 37
P Retailers
— Banking, Insurances Burjuman 3.1108 105

M Futureo 3.1104 39 Burjuman 3.1108 105
O
C SNS 3.1104 39 French Connection 3.1109-10 106-107
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E Farmers 3.1105 40 John Lewis 3.1111-12 108-109
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I John Lewis 3.1113-14 110-111
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C Beverages: Alcoholic Saks Fith Avenue 3.1115 112
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A VB 3.1105 41
RS Green King 3.1106 42 Services
ZE Batelco 3.1113 113
R Beverages: Non-Alcoholic Washin 3.1114 114
E
U Up & Go 3.1103 43 MyStarJob.com 3.1115 115
L
@ Kunstmann 3.1104 44 Bezeq 3.1116 116
CE Tai Ching 3.1117 117
FI Cosmetics Industrial Digital 3.1117 117
OF Set Wet 3.1109 45 Transport for London 3.1118-19 118-19
– Braun 3.1110 46 IT Works 3.1120 120
E Braun 3.1111 47 Nubia spa 3.1121 121
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I T-Mobile [phone]
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D Fashion
RL Wrangler 3.1109-11 51-53 Social & Environment
O Bianco 3.1112 54 AIDES 3.1124 123
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Mugler 3.1113 55 Anti Fur Coalition 3.1125 124
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N John Deer 3.1114 56 Bund 3.1125-26 124-125
SI Havaianas 3.1115 57 CADD 3.1127 126
TI Run for Shelter 3.1128 127
R
E Food AIDES 3.1129 128
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D The Manna House 3.1115 59 Surfrider Foundation 3.1130 129
A Greater’s 3.1116-17 60-61 Dutch Red Cross 3.1131 130
E – Jelly 3.1118 62
V Marbels 3.1119 63 Sports
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H IKFI 3.1104 131
C
R House & Garden Olympikus 3.1105 132
L A Ofixpres 3.1112 65 Gold’s Gym 3.1105-06 132-133
' SewSimple 3.1113 66 Coleman 3.1107 134
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N Ultragaz 3.1114 67
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S Pinco 3.1115 68 Travel & Leisure
R' Snopake 3.1116 69 Nehru Zoological Park 3.1106 135
ZE WMF 3.1117 70 Aigle 3.1107 136
ÜR Actual 3.1118 71 British Airways 3.1108 137
L Duracell 3.1118 71 Sudden Rush 3.1109 138
Faber-Castell 3.1119 72
Glad 3.1120 73
Clorox 3.1121 74
Van Marcke 3.1122 75
Onida 3.1123 76
Sheildtox 3.1124 77
Armstrong 3.1125 78 Obituary Walter Lürzer 4-5
Interview 9-12
Miscellaneous Ranking 58
ZKO 3.1101 79 How to submit your work 90
Phonak 3.1102-03 80-81 Future Events 94
Lotto 3.1104 82 New Books 139-140
Neuroth 3.1105 83 Classics 141-142
Museum of Childhood 3.1106 84 Students Contest 143-144
1
Contents
CommerCials Spot No. Page CommerCials Spot No. Page
automotive social & environment
Peugeot 508 “Quality Time” 1 147 Aides “Smutley” 52 151
Royal Enfield “Short Film” 2 147 Solidaritès International
VW “Caesar and Brutus”, “Unhealthy Drinking Water” 53 151
“Trojan Horse”, “Hannibal Lecter” 3-5 147
Mercedes-Benz “Drängeln” 6 147 Travel & leisure
Smart “Fresh Air” 7 147 Swiss Tourism
VW “The Word” 8 147 “More Than Just Mountains” 54 151
Audi A6 “Manipulation” 9 147 SNCF “Escape Machine” 55-57 151

Banking, insurances
Commerzbank “Suprise”,
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2 “Passion” 10+11 147

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2
5 Beverages: alcoholic
71 Jameson Whiskey “Great Fire” 12 147
1 Strongbow “Tall Order” 13 148

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(4 Beverages: Non-alcoholic
: Cravendale “Goodbye Cow,
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N Pirate And Cyclist” 14 148
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H Cravendale “Cats With Thumbs” 15 148
P Evian “Baby Inside” 16 148

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M Cosmetics
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C Dior “Kate Moss” 17 148
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E Old Spice “Questions” 18 148
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I Braun Satin Hair 5 Multistyler
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C “Hairmoticons” 19 148 DiGiTal Page
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RS Fashion In the following, leading names from digital select
ZE Wrangler “Stunts” 20 148 their current Top 15 digital designs (websites, apps,
R etc.). This issue’s selec tion comes from Flo Heiss,
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U Food Executive Creative Director at Dare, London.
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@ Wrigley’s 5 React “Black Orb” 21 148
CE Mentos “Mentos Love Story” 22 149 EA (Electronic Arts) 159
FI Skittles “Cat”, “Cage Cop” 23+24 149 Mlkshk 160
OF McDonald’s “Fruits Not Fizzy” 25 149 NoAd:New York 160
– Skittles “Fly” 26 149 Google 161
E Fage “Plain” 27 149 Red Bull 161
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I Hovis “Farmers’ Race” 28 149 Readability 162
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D Starburst “Bus” 29 149 Honda 162
RL Snickers “Road Trip” 30 149 9-eyes.com 163
O Light painting (iPad) 163
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Furniture Light painting (WIFI) 163
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N Vitra “Tip-Ton” 31 149 mta.me 164
SI UK Police 164
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T House & Garden BMW 165
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E Colon 101 “Colon 101” 32 150 www.donothingfor2minutes.com 165
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D Stihl “Mercy Dash” 33 150 WWF 166
A Dornbracht “360 Degrees” 34 150 The World’s Best Ever 166
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V Pharmaceuticals & oTC
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H Help Remedies “Help. I Can’t Sleep” 35-41 150
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' Suzaan Heyns Fashion Week
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N “Fashion Video” 42 150
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Ü “60 Things In 60 Seconds” 43 150
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retailers
Pfister “Dinner” 44 150
Hornbach
“Wachse über dich hinaus” 45 150

services
Virgin Media
“A More Exciting Place To Live” 46 150
AT&T “Entertainment” 47 151
jobsintown.de “Fisherman” 48 151
Orkin Pest Control Service
“Blind Date” 49 151
NTT DoCoMo “Xylophone” 50 151 TV-ranking 146
T-Mobile “Royal Wedding” 51 151 Digital interview 155-158
3
Obituary Walter Lürzer
Walter Lürzer (1942 - 2011) – A Tribute people to take their laundry down when Walter remained down-to-earth in an
gypsies entered town). At the beginning industry that likes to get lost in its own
Walter Lürzer and I have been friends for of 1979, the journal “Kontakter” published hype. He was basically three people in
50 years. After starting out with some pas- a survey of 368 agencies, in which Lürzer, one: The never-satisfied. The visionary.
sionate games of chess – with and without Conrad (often referred to as LüCo-Works), The doer and go-getter, the implementer.
chess board – we teamed up professionally. received first place for “extraordinary cre- Three completely different characters, which
From 1968 to 1982. For 14 years. First as ative potential” as well as for “unusual he could unite. A larger-than-life man, as
colleagues, then as partners. I believe I advertising strategies,” succeeding the obsessed as he was persistent. “Giving up”
can say that I know Walter well. place for “ideal agency.” was not part of his vocabulary.
Exaggeration, praise and flattery devoid of At that point, the agency had 95 employ- He had patience, and actually loved to
any base in reality, especially when directed ees. People who were among the best in delve into complex problems. He was strong 4
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at himself, were never his thing – unless, the country. People who wanted to be in analysis and strategy. He was always
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that is, they came “packaged,” concealed doing something, rather than just being thinking in alternatives, focusing on the 2
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in irony, wit, and humor. It wasn’t easy to someone. People like Walter. He put them realizable and attainable, and persuasive 1
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pay him a compliment. But suddenly we first, first before the clients. In the obituary when dealing with people both inside and 1

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can’t hold them back: “A Hero,” “A Great,” from the ADC Germany, HP Albrecht wrote: outside his professional environments. 3
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“A Genius” are among the most frequently “The client Fiat started picking on our chief (
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heard tributes since Walter’s passing. From creative on the account, Klaus Erich Küster, He was firmly convinced of the validity of NE
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friends and foes, and he did have foes, for in response to which Walter made it clear to his thoughts, enabling him to inspire both H
he liked a good fight. the client: ‘Now listen, I’d rather go looking trust and faith in his abilities. He never P
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for a new client than try to find another cre- stopped being the hammer thrower and
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Walter and Uli Wiesendanger, founder and ative like him.’ ” Küster and his colleagues engineer. He merely reached for loftier O
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chief creative of the worldwide agency subsequently created the legendary “tolle intellectual spheres, setting ever further, E.
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TBWA, had their fair share of quarrels. Yet Kiste” (“neat little number”) campaign for higher standards. And he insisted on qual- I
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on the day of Walter’s death, Uli wrote: the Fiat Panda. And today, 35 years later, ity down to the very last detail – and it is C
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“Dear Michael, I too miss Walter. Of course Fiat is still one of the major names on the in the detail, they say, that God lies. When SA
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there were a few times he rubbed me the global client roster at Leo Burnett. in good form, he was creative lightness E
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wrong way. But he did so with piercing personified. For a Bosch ad I once labored R
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(ouch!) clarity and always with a great deal His idea to team up with the American over for days, staring at a visual showing a U
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of humor. And, thirdly, he was right most agency Leo Burnett in 1980 proved to be a row of all the essential spark plugs Bosch @
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of the time. Which is why I enjoy thinking success. Even if Walter left Lürzer, Conrad & had ever developed, including the very C
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about him and am very sad. Let’s meet up Leo Burnett just two years after the merger, first for the Otto engine, I was desperately F
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a bit more often. I’ll be in touch.” Thank the agency now had an extraordinary DNA searching for a headline. Walter, passing –
you, Uli. “Let’s see more of each other,” and in subsequent years grew to employ by, glanced at the image with interest and E
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is also what Sir John Hegarty, our former more than 450 people. said: “The history of the automobile.” WI
colleague at TBWA, said to me upon hearing D
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of Walter’s death. In 1984, he turned publisher, founding Through his qualities and his ambitious O
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Lürzer‘s Archive. During my travels to the standards, he has deeply moved us, in-

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Walter was a hammer thrower. He studied most distant corners of our planet I have fluenced us, helped us grow, and trans- N
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engineering and advertising. Started out in hardly ever come across creatives who formed us. I am proud that he is my friend, S
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client services at an agency called IWG in didn’t have copies of Lürzer‘s Archive on a friend of my family, and godfather to R
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Vienna. Moved to Frankfurt and got a job as their desks. When creatives apply for jobs, my son Philipp. Our great, brilliant hero. V
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account executive at McCann Erickson and they like to point out, again and again, And the hero of many. He is an honorary A

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started writing his first ad copy for his client which and how many of their campaigns member of the Creative Club Austria and E
Opel. Switched to Y&R in Frankfurt and cre- have been featured in the magazine. of the German ADC, and in 2009 he was IV
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ated famous campaigns for Cointreau and inducted into the Hall of Fame of German C
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Haig. He became creative director at Ogilvy It wasn’t long before Walter became rest- Advertising by the weekly business maga- A
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in Frankfurt. Again, he left after creating less without an agency. He bought 50% zine Wirtschaftswoche. '
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much-awarded campaigns such as those of Lowe Germany for 1 deutschmark and N
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for Lufthansa, Becel, Wasa, and CD soap. turned the agency – called Lowe, Lürzer – During one of our last phone calls, he told S
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around to make it the next success story. me of new illness-related complications. E
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In 1972, he founded the German TBWA with And then, 20 years ago, Walter was lured “Chin up,” I told him. “How am I supposed R
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a provocative concept: “creative service” back to his native Austria. He became a to do that, Michael?” he laughed. “Chin up? L
instead of “full service.” This changed the professor, taking up the Chair of Graphic By lifting my head up out of the casket?”
advertising landscape completely, strength- Design and Advertising department at
ening creative agencies. One of the first Vienna’s Academy of Applied Arts and Your humor, dear Walter, was a true bless-
clients, Aral, called this form of co-opera- creating the famous “Lürzer Class,” the ing. And, for the many who now embrace
tion “the Bochum model.” After being the top address for creative talents. you, your head won’t, in any case, fit into
subject of heated discussion, the idea any casket.
took off. TBWA became Germany’s fastest- Hammer thrower, engineer, adman, com-
growing agency, surpassed only in 1975 pany founder, entrepreneur, turnaround
when Lürzer, Conrad was founded. After a expert, publisher, professor. A constant
few months an advertising newsletter wrote: string of successes spanning almost five
“Take down your laundry. Lürzer, Conrad are decades. So what were the qualities that
coming” (referring to an old saying warning made him so successful? Michael Conrad
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Interview
People in the advertising business who help the buzz, etc. I think it’s not only
have not seen “Avatar” should resign cool to be there, but we should never
immediately. forget that there is an audience. And
that audience is young people. They love
Maurice Lévy is the chief executive of that, they love to go there, they love to
Publicis, the world’s fourth-biggest global download something, to forward it to a
advertising holding. Born in 1942 in the friend, to do a lot of things. And they think
Moroccan town of Oujda, Lévy joined Pub- it’s part of the new pop culture. And it’s
licis in Paris in 1971. In 1972, a fire broke really something, which epitomizes the
out in the office and he risked life and new pop culture. So, to not be there is
limb to rush back in to save the Publicis exactly as if you were not going to the
4 computer records. This beyond-the-call- movies, as if you did not know the most
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of-duty commitment to the company paid important films of the past years. People
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2 off handsomely in 1987 when the then in the advertising business who have not
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1 owner and chief executive of Publicis, seen “Avatar” should resign immediately.
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1 Marcel Bleustein-Blanchet, made him his And with the web, it’s exactly the same.

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3 successor. Today, Lévy is one of the most Advertisers have to be there, because it’s
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( powerful figures in the advertising world, important, it’s cool. Maurice Lévy, chief executive of Publicis Group.
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NE employing 39,000 people in 109 countries. L.A.: You said yourself there is a lot of crap
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H His company owns four international on YouTube. So do advertisers want to some amateur things. They believe it’s a
P advertising agency networks – Publicis, be associated with this? What do you tell masterpiece, and yet it’s just a piece of
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Leo Burnett, Fallon, and Saatchi & Saatchi, your clients when this concern comes up? something else. And we have to be in the
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O as well as media buying agencies Zenith Maurice Lévy: YouTube is not a glossy middle of what is life. We should not be
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E. Optimedia and Starcom. Lévy also has a magazine with nice pictures, nice photos. protected. We are not sheltered from life.
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I 49 per cent share in BBH. Eighteen years Advertisers should not think that they have L.A.: It’s interesting that you use the
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C ago, Hermann Vaske went to Paris to see to be in a protected arena. I understand word “amateur” because in the French
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SA Maurice Lévy, who hired him as Executive that, when it comes to their own com- language there is the connection to the
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E Creative Director. Almost two decades later, munication, they have to make sure that word “aimer,” “to love,” so it’s not neces-
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R Vaske came back to the Publicis head- the place where they are communicating sarily a bad connotation when you are
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U quarters on the Champs Élysées to talk to is clearly relevant to the people, that it’s called an amateur.
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@ CEO Maurice Lévy about his extraordinary in accord with their strategy. But the place Maurice Lévy: “Amateur” has many con-
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C career and his interest in digital creativity. where they have to be is the place of life. notations in French. One is “un travail
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F And life is not glossy. Life is what it is. And d’amateur.” That is negative because it
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– L.A.: Let’s start by talking about digital ad - when there is some crap on YouTube it’s really refers to a lack of craft, means doing
E vertising. What relevance, with you running because, first, there are some creatives something without knowing how to. So
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WI one of the world’s most successful com- who are crap. Unfortunately, there is a lot that – “un travail d’amateur” – is certainly
D munication networks, does a platform like of work that we should not be proud of, we not good. But then you have “C’est un
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O YouTube have for advertisers these days? advertising people. There is a lot of work vrai amateur!” to describe someone who
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Maurice Lévy: YouTube is a very cool that even the creative people who have passionately loves something. And an
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N platform. It’s something where you can created it are not proud of. Having said “amateur” in that sense is positive. So you
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S find all kinds of stuff – from something that, it is life, it is the kind of thing where have the double meaning and you have to
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R weird that you’d better put in a trash box kids have downloaded their own thing, be very careful. But, yes, “amateur” derives
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V to things which are absolutely fantastic. where people who are no longer kids but from “aimer” – “to love something”: “Je
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A A few things which are very fun, which who have the mind of kids have created suis un grand amateur d’art.” But “Je aime

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A poster for Wonderbra produced in 2006 by Publicis Conseil, Paris.
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Interview
l’art, mais je ne suis pas capable d’en and his point also was that Pierre Boulez,
faire.” – “I love art, but I am not capable Jean-Luc Godard and Charlie Parker … they
of doing it.” So, as an “amateur,” I love all started as amateurs and they had the
to see a piece of art but I will not try to passion because they loved what they
create that piece of art because I know I were doing, you know. And he didn’t find
will create a piece of shit (if you’ll pardon the “Age of the Amateur” negative at all.
my French). And the idea that there are a Maurice Lévy: As I said, you have the
lot of young people, not necessarily young double meaning in amateur. I think that
by age, but young in spirit, who are trying being an amateur in advertising, in the
to co-generate something, who are gener- directing of art, in the direction of movies,
ating work, who are downloading work ... is something very positive. Because you
I see that as a positive move. I think it’s start out as an amateur and you become a 4
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self-expression. I think it’s very important professional but the basis is love, passion.
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because it’s also how you develop your Amateurs have passion. Very often when 2
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own personality, how you express your you go and you speak to people who are A 2002 ad for Whiskas brand catfood from 71

feelings for, your love, your disappoint- focused on something they love - “C’est Publicis China. 1

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ment about something. So we should not un grand amateur de ...” – that means 3
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try to impose rules on the people. We they have a passion for it. we had the Nouvelle Vague and if we still (
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have enough rules in our lives, for Christ’s L.A.: A “grand amateur d’art” – that’s what have a very lively cinema industry, and in NE
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sake – let them be free. the curator of the Centre Pompidou said this lively cinema industry we are still able H
L.A.: That’s interesting, the amateur discus- about Dennis Hopper. to create by doing non-commercial films, P
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sion, because I talked to Bernard Stiegler Maurice Lévy: Yes, but I think also there is then this is a result of having really very
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from the Centre Pompidou Innovation Lab, something which is very French about it. If serious amateurs. O
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L.A.: Thank God for that. I know the situ- E.
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ation in France is really quite special in I
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this respect. Now, how can advertising C
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capitalize on this, because the traditional SA
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business is, after all, in a kind of crisis. E
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Some agencies didn’t get the spirit of the R
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times but people like you did. How can U
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they take advantage of this whole new @
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spirit of digital and amateurs? C
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Maurice Lévy: I believe that we are F
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approaching a new era. I may be wrong, –
because that’s always the risk: if you try E
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to read the future, you can be wrong. You WI
can’t be wrong if you look at the very D
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distant future, because it is so distant, O
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that nobody will be around anymore to

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tell you that you were wrong. Everyone N
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will have disappeared. But when you S
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look at what’s happening today in the R
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digital world, you see that it is affecting V
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the social life of a whole new generation. A

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And this will last forever. It will be as E
important as TV has been for you, for IV
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me. We were born with TV and we grew C
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up with TV, the same way that radio was A
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important for our fathers, and all of the '
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new approaches to cinema were for all N
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of us. What is happening with digital is S
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affecting the way we communicate, the E
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way we are entertained, the way we cre- R
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ate new relationships, we learn, get news, L
share news, and build a new social life.
And it affects even commerce, buying,
shopping. You can buy or trade, go on
vacation, book hotel rooms through the
internet, just by means of a click. If that
is affecting the people so much, we as
advertising people would be fools not to
foresee what’s happening and to do not
An ad (above) for Lancôme brand mascara (2003) and (below) a spread for Hermès (1999), both this, because it will change the way we
by Publicis Conseil, Paris. have to communicate with people. Not
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Interview
only the channels, not only the fact that
we are going through a new digital chan-
nel. That’s fine. Okay, that’s not enough:
it’s also how we communicate. Because,
obviously, you communicate differently.
I will give you two or three examples if I
may. One example, which is very simple:
cinema. When you put an ad in the movie
theater, there is something magical that
is happening. It’s not an ad that you are
watching by yourself, privately, this is
4 an ad that you are watching with a few
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hundred people. You are laughing /not
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2 laughing, feeling /not feeling exactly in
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1 the heartbeat with the other people. So
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1 you are sharing a moment together in the

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3 same room. This effect is something that
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( you get only in movie theaters. If you look
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NE at what you are getting on TV, it is in a
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H familiar environment, in your home, with
P your family and your wife, your partner, An ad from the year 2000 for Crest Toothpaste by Publicis, New York.
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your kids, your friends. You’re having a
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O drink, watching a football game. You are L.A.: That’s a great curve you have drawn does) a paramount role in the advertising
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E. seeing that Munich is losing and that the there. I totally agree. At the end of the day, landscape. Marcel started in 1926 and
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I Lions will be winning. And then there is the internet took distribution out of the brought modern creativity, professionalism,
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C a break and you have some commercial hands of a few and gave it to the many. tools, market research, etc. to France. He
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SA that you are sharing. You laugh / you don’t The possibility to express that emotion also had a life that was truly “larger than
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E laugh, you listen/you don’t listen, etc. but can bring a lot to the party of humanity. life.” He was in the Resistance, went to
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R you are not focused. But when you look at Maurice Lévy: I fully agree. Don’t be afraid. London with General de Gaulle, created
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U a magazine, you have something, which is Be daring! And the best way to be daring the first commercial radio station, and on
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@ very private: it’s for yourself and yourself is to have your work amongst that of all and on. Publicis created a lot of “firsts”
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C only. Digital, not only is it something the others. It’s to be judged by millions of in the French market.
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F which is in a very different environment, people and to be seen by these millions L.A.: You have had an enormous output.
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– but the language is necessarily different. of people. They will tell you what you have What were the highlights of the work you
E Because the way it is shared, the way it is done is crap – or what you have done have done?
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WI looked at and received, is very different. is fantastic. So if you are
D Obviously, you have to respect the code a good creative direc tor,
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O of communication of your client and the if you have little bit of tal-
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brand you are advertising. You have to ent, go create and go to

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N take into account that there is a chan- YouTube and upload your
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S nel, there is an audience and there is a work there. You will see it
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R language. And that is fascinating because amongst the best, amongst
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V it is opening a whole new arena of com- the crap, amongst the very
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A munication, of creativity, and I think, to best. You will be judged by

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E come back to the amateur idea, that the millions of people and they
IV young creative amateur will bring a lot will decide if you are good
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C and will get also the less amateur to be or not. So be daring, go to
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A more open to this new world. I’m pas- Creative Heads on YouTube
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' sionate about what’s happening in this and upload.
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IN new world. I’m passionate about what’s L.A.: You have had an ex-
S happening because I think it’s a new slice traordinary career in ad-
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E of life, it’s a new slice of future which is vertising. How did you get
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R opening for us. It is something that is into the business?
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L absolutely fantastic and we should not Maurice Lévy: Like many
look at this only as a matrix, analytics, admen, I joined an agency
and as technology. We should never by accident and I fell in
forget that what we do above all is to love with it.
create an emotion, to create a bond, L.A.: How important was
to create a link between the consumer the influence of Publicis
and the brand. And in this field the way and Mr. Bleustein-Blanchet
you communicate is very important. You in French advertising?
have permission to go beyond the classic Maurice Lévy: Marcel Bleu-
boundaries. You have permission to step stein-Blanchet and Publicis
on a few rules. In fact, please do so! played (and Publicis still A 2010 ad for the Renault Clio from Publicis, Frankfurt am Main.
11
Interview
Second, because most of the time these
people are simply fantastic and need to
be supported to help them take their
ideas to fruition. This is true of creative
people – but not only creatives.
L.A.: Why are you creative?
Maurice Lévy: Why? Funny question. I’m
used to thinking differently, out of the
box. Is it in my nature? Well, if so, I am not
re sponsible for it, nor do I have any merit.
L.A.: Now that you have achieved everything
one can achieve in advertising, how do you 4
2
see the future of the business?
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Maurice Lévy: The beauty with advertising 2
5
is that it is continuously changing, while 1
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at the same time the fundamentals remain 1

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the same; it is all about ideas – strategic, 3
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media or creative ideas. Tomorrow, the (
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world will be hugely impacted by digital NE
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Spread for HP created by Publicis Hal Riney, San Francisco in 2000. innovation: TV, social networks, mobile H
communication, the internet, etc, etc. P
—
Maurice Lévy: There are too many. For of some key clients like Coca-Cola, or the People’s behavior will change: the way
M
me, the highlights and the best work are acquisition of Saatchi & Saatchi, which they learn, get informed, shop, commu- O
C
always yet to come. opened up our collaboration with P&G, and nicate, etc., and this will change the way E.
V
L.A.: What were the most critical moments? a lot more, including the Bcom3 acquisi- we work dramatically. But what will remain I
H
Maurice Lévy: There were many: the fire in tion, and the shift to digital followed by the very key are ideas. C
R
the office building and the risk of seeing the acquisition of Digitas and Razorfish. L.A.: What is the most important thing to SA
R
all our operations disappear; the divorce But, you know, I have the feeling that I you in this business? E
Z
from FCB (we formed an alliance which have not achieved a lot in relation to what Maurice Lévy: For me, the most important R
E
failed); those were the most difficult I still have to do. thing in this business is passion. Since U
L
moments. On the positive side, the most L.A.: Why do you always support extraordi- day one. I’ve had the good fortune to work @
E
important steps forward – after building nary creative individuals like Dave Droga? passionately for clients, for great ads, for C
I
F
the strongest French advertising and com- Maurice Lévy: First of all, because I love new ideas, for new ventures, and still F
O
munication agency with Nestlé, L’Oréal, creativity and my eyes still light up like today that passion is as fresh as it was –
Renault – were globalization, the winning a child’s when I see a great new idea. on day one. E
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A poster for Budweiser from Publicis, London (1990).
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Audio & Video
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Campaign for Onida brand non-reflective TVs. ∆ McCann Worldgroup, Mumbai ∏ Prem Shanker ∂ Anil Thomas ≥ Senthil
Kumar ∫ Prem Shanker ⁄ Sreejith
13 3.1104