Friday, September 30, 2005


Following the loss of the Commonwealth Bank to STW several months back, 360 Partnership has been offered a lifeline, being folded into the STW Group in an effort to ensure continuity of the bank's marketing, particularly below the line. However, creative partner Murray Redwood (pictured) and managing partner Peter Hosking will consult to STW until January, when they will be free agents. Most of 360 will join STW to work on the Bank, including three creative teams.

Monday, September 26, 2005


An impressive line-up of creative talent from throughout the region has arrived in Sydney for the 2005 AWARD judging. On Wednesday evening, the judges will meet up with AWARD members for cocktails and nibbles at Ruby Rabbit in Darlinghurst. Tickets are $65 for members, $75 for non members, available from Two de Force on (02) 9281 8004.

Just look at this list of top names who will be there:

Paul Catmur, Executive Creative Director, DDB New Zealand
Emma Hill, Creative Director, Clemenger BBDO Melbourne
Jonathan Kneebone, Joint Creative Director, The Glue Society
Ted Lim, Executive Creative Director, DDB Naga Sdn Bhd
Linda Locke, Chairman and ECD, Leo Burnett Singapore
Richard Maddocks, Creative Director, Colenso BBDO Auckland
David Nobay, Creative Director, Saatchi & Saatchi Sydney
Ben Nott, Creative Director, TBWA Chiat Day LA
Thirasak Thanapatanakul, Executive Creative Director, Creative Juice/G1, Bangkok
Nick Worthington, Executive Creative Director, Publicis Mojo Auckland
James McGrath, Creative Director, George Patterson Y&R, Melbourne
John Warwicker, Director, Tomato
Kitti Chaiyaporn, Executive Creative Director, Publicis Thailand
Eugene Cheong, Regional head of Copy, Ogilvy & Mather Singapore
Oliver Devaris, Senior Copywriter, M&C Saatchi Sydney
Jay Furby, Creative Director, Arnold Worldwide, Sydney
Ruth Lee, Executive Creative Director, Leo Burnett Shanghai
Todd McCracken, Creative Director, Grey Worldwide Auckland
Mike O'Sullivan, Creative Director, Saatchi & Saatchi New Zealand
Jeremy Taine, Creative Director, MTC, Auckland
Andrew Tinning, Creative Director, Marketforce Perth
Philip Andrew, Creative Director, Clemenger BBDO Wellington
Len Cheeseman, Type Director, Publicis Mojo Auckland
Dave Johnson, Creative Director, The Campaign Palace Sydney
Toby Talbot, Creative Director, Saatchi & Saatchi, Auckland
Mike Boswell, Creative Director, Belgiovane Williams Mackay, Sydney
Rebecca Carrasco, Copywriter, Saatchi & Saatchi Sydney
Mick Hunter, Creative Director, Whybin TBWA, Sydney
Andy Lish, Creative Director, Andy Lish Freelance, Melbourne
Darryl Parsons, Copywriter, Consortium, Auckland
Danny Searle, Creative Director/Deputy Chairman, Clemenger BBDO, Sydney
Peter Withy, National Creative Director, KWP! Adelaide
Brett Corrick Director of Marketing & Search Yahoo! Australia & NZ
Jonathan Pease, Creative Director, Tight Knickers, sydney
Darren Spiller, National Creative Director, Publicis Mojo Australia


For the first time in its 43 year history, D&AD has invited Australasian creatives on their precious awards juries, with at least three Aussies and two Kiwis known to be invited to London early next year. So far, Warren Brown, creative partner of BMF Sydney (pictured) is on the Film jury, Nobby, ECD of Saatchi & Saatchi Sydney is on the Print Jury, Mike O'Sullivan, ECD of Saatchi & Saatchi NZ is on the Writing for Advertising jury, Dylan Taylor, Direct CD a BMF Sydney is on the Direct jury, and Tom Eslinger, CD of Saatchi Interactive NZ is on the Interactive jury.

Saturday, September 24, 2005


High end production house The Sweet Shop has been named Creative and Design Exporter of the Year in the 2005 New Zealand Trade and Enterprise Export Awards. The Sweet Shop, still in its infancy at just three years old, won the national award in recognition of its success as a profitable, innovative and fast growing company.

The Export Awards judges congratulated The Sweet Shop on its success and said the Auckland enterprise was a truly global business, with most of its operations offshore.

“In just a few years of business this young company has built a strong customer base. Its ability to build relationships is a particular strength,” the judges said.

NZTE CEO Tim Gibson said the outstanding achievements of The Sweet Shop and the other Export Award winners in the intensely competitive international market should make all New Zealanders proud. “Our 2005 export award winners show that with vision, passion and skill, innovative New Zealand exporters can achieve on the world stage, often against much bigger and better resourced competitors.”

Managing Director, Paul Prince (pictured), was very pleased the Sweet Shop had the opportunity to go through the three stages of the New Zealand Trade and Enterprise awards commenting ‘it was a great chance to analyse the entire business above and beyond producing commercials.’

Business has rocketed since The Sweet Shop was established in 2001; staff numbers have increased from 3 to 22 with seven directors now on its roster. Prince credits part of the Sweet Shop’s international success to its collaboration with powerful production houses Czar.US and Partizan. The Sweet Shop has also just opened its own office in London giving its directors closer access through the doors of European agencies.

This win is the latest in a string of successes. In January it was named one of the top 20 production houses in the world by leading international advertising industry publication Boards magazine. At Cannes, director Steve Ayson won a Film Lion, for Marmite “Blob” commercial while Kezia Barnett was the only director from the region presented in the Saatchi and Saatchi Young Directors Showcase.

At the inaugural advertising award show The Kodak Gongs in Sydney this September Barnett was awarded ‘Young Director of the Year’ award, while her commercial “Love Story” for Herringbone won a Gong for Production Design. Ayson also won a Gong for Casting with his “Lion” spot for Centraal Beheer. The Sweet Shop was also a winner at the Clio Awards, and gathered 5 awards and 3 trophies at the Australasian Television Awards.


CB hears The Campaign Palace/Red Cell name is safe following news that Red Cell is reorganising its worldwide network. Many Red Cell shops throughout the world are due to be folded into other WPP agencies (JWT, Y&R, O&M, Grey), leaving only a core of top quality creative shops in key markets, under the leadership of Andy Berlin of Berlin Cameron/Red Cell, New York.

Tuesday, September 20, 2005


Here are just of few of the party pics from The Gongs. See more in the CB September issue, which also features a CD of the best radio spots in the world, including the 2005 Cannes Radio Lions.


One of Asia's most award-winning creatives, Kitti Chaiyaporn, executive creative director of Publicis Thailand, will be one of the special overseas speakers at the Caxton Awards & Seminar to be held on Hayman Island, October 7-9. The other is Aussie expat Ben Nott, senior creative at TBWA\Chiat\Day, Los Angeles. Other speakers include former George Patterson national MD, John Fawcett, Chris Mort, CEO of McCann Sydney and Patsy Peacock, principal of FBI Recruitment. Simon Collins, ECD of JWT Sydney will chair a panel of speakers to discuss various hot topics. To book, call Two de Force in Sydney.


Grey Worldwide, Melbourne has snared Hillary Badger, just a week or so after she exited Clemenger BBDO Melbourne, as well as her boyfriend, Rob Beamish from Leo Burnett. The pair will work together for the first time under Grey Melbourne ECD Ant Shannon, who was CD of Clemenger BBDO Melbourne up until mid 2003.

Friday, September 16, 2005


After recently coming back into the business to join Spinach, Melbourne, top writer Andrew North is on the move again, this time to Clemenger BBDO Melbourne. North will be partnering Pete Becker, replacing Monty Arnhold who has recently departed the agency.


CB hears expat Aussie Shane Gibson is leaving M&C Saatchi, London where he has been head of art. The move follows news of his former partner at M&C Saatchi, Matt Eastwood leaving the CD gig at Y&R New York. Where Gibson is off to next is unclear, although CB would not be too surprised if he teams up again with Eastwood. The writing was probably on the wall for Gibson (left, with CB's Kim Shaw in London in June 2005) when Eastwood left the CD gig of M&C Saatchi London two years back to go to New York.


Aussie expat Ben Nott (left), who is a senior creative at TBWA\Chiat\Day, Los Angeles, working within spitting distance of the legendary Lee Clow, has been added to the Caxton speaker lineup for Hayman Island next month, as well as Simon Collins, the soon to be departing CD of JWT Sydney, who will chair a panel to discuss various hot topics. There may be another international speaker if circumstances permit.

Thursday, September 15, 2005


The inaugural Kodak Gongs were presented at the State Theatre in Sydney Wednesday night, attended by a crowd of 500 agency and production luminaries. The winners were judged from 88 finalists out of 628 entries received throughout the Asia Pacific region. 33 Gongs were awarded in total from the 42 categories.

DDB Sydney took out Best of Show for their Konica Minolta "Mud" spot and CB Agency of the Year Saatchi & Saatchi took out the Gongs Agency of the Year title, based on a body of work at the show, including spots for their client, Toyota, which picked up Advertiser of the Year. Other Best of the Best winners included: Production House of the Year - Revolver Film; Post Production Company of the Year - Oktobor; Directors of the Year - Steve Rogers of Revolver Film and Iain Mackenzie of Pod Film.

The Kodak Gongs were judged in two rounds. The first round to decide finalists comprised panels from the Asia Pacific region while the second round was judged by a stellar International Panel.

“The momentum that has brought us to tonight started well over two years ago. It started because a group of independent production companies under the umbrella of SPAA decided it was time to actively promote excellence, independence and creativity”, the committee chairmen, Richard White-Smith and Mike Vanderfield said in a joint statement.

“The Kodak Gongs are ambitious. They were built from the ground up to recognise excellence in the craft and ideas of the commercial moving image. They're about the Asia Pacific region. They're about the winners being judged as objectively as possible by a stellar jury from around the world. They're not-for-profit. and they are about work for any technology, delivery platform or new media.

“Tonight is a celebration of the best work created in the last 18 months to sell products and build brands, and recognition of the clients who were smart enough to get this work made. At the same time tonight is intended as a powerful demonstration of the vitality, diversity and ingenuity of this industry. It is blindingly obvious that great ads work. More than ever we need to stand together and advertise what we do best.”


Client: Konica Minolta

Title: Mud, Make ordinary, extraordinary

Agency: DDB Sydney

Creative Directors: Garry Horner and Michael Faudet

Creative Team: Mandy Kennedy, Charlie Cook, Garry Horner & Michael Faudet

Production Company: POD Film

Director: Iain MacKenzie


Client: Toyota

Title: Donkey

Agency: Saatchi & Saatchi, Sydney

Creative Director: David Nobay

Copywriters: David Nobay & Scott McBurnie

Art Directors: David Nobay & Scott McBurnie

Production Company: Revolver Film

Director: Steve Rogers

Banks, Financial & Insurance

No Gong


Client: Meat & Livestock Australia

Title: UnAustralian

Agency: BMF Sydney

Creative Director: Warren Brown

Copywriter: Dennis Koutoulogenis

Art Director: Dale McGuinness

Production Company: 2 Feet Films

Director: Phil Rich


Client: L&P - Coca-Cola Amatil
Title: Stubbies

Agency: MTC, Auckland

Creative Directors: Jeremy Taine and Roy Meares

Copywriters: Josh Lancaster and Jamie Hitchcock

Art Directors: Josh Lancaster & Jamie Hitchcock

Production Company: Silverscreen

Director: Adam Stevens


Title: Understand

Client: Land Transport NZ

Agency: Clemenger BBDO, Wellington

Creative Director: Philip Andren
Copywriter: Jamie Standen

Art Director: Mark Forgan

Production Company: Exile Films

Director: Christine Jeffs

Cosmetics, Toiletries and Pharmaceuticals

No Gong


Client: Telstra

Title: Holiday

Agency: Belgiovane Williams MacKay, Sydney

Exec. Creative Director: Rob Belgiovane

Creative Directors: Adam Hunt and Mike Boswell

Copywriter: Dean Hamilton

Art Director: Kevin McNamara

Production Company: Caravan Pictures

Director: Ben Lawrence

Fashion, Clothing & Accessories

No Gong

Household Products, Home & Maintenance

Client: Dulux Australia
Title: Ghost

Agency: Clemenger BBDO, Melbourne

Creative Directors: Emma Hill and Josh Robbins

Copywriter: Hilary Badger

Art Director: Linda Honan

Production Company: Exit Fillms

Director: Garth Davis

Media & Entertainment

No Gong

Travel & Holidays

No Gong

Computer, Office Technology & Consumer Durables

Client: Canon Australia Pty Ltd

Title: Digic 'Rodeo'

Agency: Leo Burnett, Sydney

Creative Director: Glen Ryan

Creative Team: John Kane, Derek Green and Matt Smith

Production Company: The Glue Society

Director: The Glue Society

Client: Konica Minolta
Title: Mud, Make ordinary, extraordinary

Agency: DDB Sydney
Creative Directors: Garry Horner and Michael Faudet

Creative Team: Mandy Kennedy, Charlie Cook, Garry Horner & Michael Faudet

Production Company: POD Film

Director: Iain MacKenzie

Sport and Leisure

No Gong


Client: Australian Red Cross Blood Service

Title: We Gave Blood

Agency: BMF Sydney

Creative Director: Warren Brown

Copywriter: Andrew Petch

Art Director: Andrew Ostrom

Production Company: Caravan Pictures

Director: Ben Lawrence

Client: Channel [V]

Title: Dance Space

Agency: The Glue Society, Sydney

Creative Director: The Glue Society

Copywriter: The Glue Society

Art Director: The Glue Society

Production Company:

Director: The Glue Society


Young Editor of the Year
Jack Hutchings

Young Cinematographer of the Year

No Gong

Young Director of the Year

Kezia Barnett, The Sweet Shop


Client: L&P - Coca-Cola Amatil

Title: Stubbies

Agency: MTC, Auckland

Creative Directors: Jeremy Taine & Roy Meares

Agency: MTC, Auckland

Copywriters: Josh Lancaster & Jamie Hitchcock

Art Directors: Josh Lancaster & Jamie Hitchcock

Production Company: Silverscreen
Director: Adam Stevens

Production Design

Production Designer: Shelley Beckett

Client Company: Herringbone

Title: Love Story


Casting Director: Debbie Shepherd - Debbie Shepherd London

Client Company: Centraal Beheer

Title: Lion

Music Video

No Gong

No Gong

Sound Design

Sound Designer: Rafael May

Client: Australian Graphic Design Association

Title: The Journey

Best Adaptation of Non-Original Composition

Sound Designer: Hilton Mowday

Client: Konica Minolta

Title: Mud - Make ordinary, extraordinary

Sound – Original Score

No Gong


Cinematographer: Iain Mackenzie

Client: Konica Minolta

Title: Mud - Make ordinary, extraordinary

Character Animation
Animators: Reuben Sutherland, Paul Scott-James, James Hutchinson, Scott Wilkinson, Ned Wenlock & Paul Carter at Fat Ltd
Client Company: IKEA

Title: Stig

Animation 3D
Designer: Cathy Vicaretti
Animator: Mikkel Andreassen
Client: TV One NZ
Title: Zone

Special Effects in Camera

Special Effects Designer: Tad Pride

Director: Lance Kelleher

Production Company: 8 Commercials

Client Company: Toyota Motor Corporation Australia
Title: Move Over

Digital Visual Effects & CGI

Production Company: Animal Logic

Client: Chanel

Title: No.5 - The Film

Animator: Will Relchelt (Lead 3D Animator), Daniel Marum, Phil
Jackson & David Hanson (Animators) Leoni Willis & Krista Jordan (Lead Compositors), Angus Wilson, Pheng Sisopha, Mark Barber, Mark Robinson, Dan Beckwoldt & Dave Dally (Compositors) & Dave Nelsen (Senior Matte Artist)


Editor: Alexandre De Franceschi

Editing Company: Guillotine
Client: Toyota Motor Corporation Australia

Title: Knives

Direction Visual Style

Director: Iain Mackenzie

Production Company: Pod Film

Client: Konica Minolta

Title: Mud - Make ordinary, extraordinary

Direction Performance

Director: Steve Rogers

Production Company: Revolver Film

Client: Toyota Motor Corporation Australia

Title: Donkey

Best of the Best
Production House of the Year

Revolver Film

Best of the Best
Digital/Post Production Company of the Year


Best of the Best
New Media/Digital Production Company of the Year

No Gong awarded

Best of the Best
Agency of the Year

Saatchi & Saatchi, Sydney

Best of the Best
Advertiser of the Year

Toyota Motor Corporation of Australia

Best of the Best
Director of the Year

Steve Rogers and
Iain Mackenzie

Wednesday, September 14, 2005


Australia's Matt Eastwood, chief creative officer of Y&R New York, is set to depart the agency on Friday, after only a year in the job. Eastwood would not reveal his future plans but told CB from New York: "Resigning was the right thing for me to do at this point in my career. Right now, Y&R North America is simply about survival, and I need a far loftier agenda than that. Whilst I am not ready to announce my next role, all I can say is 'watch this space'." Before Y&R, Eastwood was chairman and executive creative director at the New York office of M&C Saatchi. Prior to that, he held creative posts at M&C's offices in Melbourne and London. Originally from Perth, he has held senior writer gigs at JMA Perth and Saatchi & Saatchi, Sydney.


The merger of George Patterson and Y&R has resulted in several key creative changes, including the naming of Matt McGrath as national CD and the shifting of current Y&R Melbourne CD Tony Greenwood (right) to a roving creative role across the group, while current George Patterson CD James McGrath (left) will be CD of the merged entity in Melbourne. So far, there appears to be no casualties in the creative departments, but many industry observers expect a few changes, particularly in Sydney, which is overshadowed by the star Melbourne creative line up under James McGrath. The merged George Patterson Y&R will be housed in the George Patterson premises in Sydney, Melbourne and Brisbane.


FCB Melbourne joint creative director Mark Ringer has resigned from the agency to take up the role of executive creative director, JWT Bangkok, Unilever Asia Pacific, the position left vacant after the departure of Australian James Woollett a few months back. Ringer will be one of five ECDs within the agency and has been appointed specifically to head up its Unilever account.
Since joining FCB from M&C Saatchi Singapore four years back, Ringer has been responsible for award winning work on Honda, Kraft and Stihl. He was also the MADC president this year. Ringer knows Asia well: prior to M&C Saatchi, Singapore, where he was associate CD, he worked at Batey Ads and DDB Singapore with his long time partner Scott Lambert. (They met in the retail division of Y&R Adelaide). Lambert will now take on the sole CD role, but no doubt will be looking for a new writer partner.
Says Ringer: "The decision to leave FCB Melbourne was a difficult one and in particular breaking with long-time partner Scott Lambert and managing director Christine Barnes. FCB Melbourne has a brilliant working environment that is fostering better and better work. The best work we’ve done for Honda is now going into production. And yes, I can confirm that Melbourne is a great place to live.
"Scott and I have been long time admirers of (worldwide CD) Craig Davis, not just what he achieves, but the way he goes about achieving it. And with the new way of working and appointments like Tay Hin Guan, it’s an exciting time to be joining JWT. JWT Bangkok itself is currently one of the most awarded agencies in the region and Bangkok itself is loaded with talented people.
"Unilever and JWT’s relationship goes back over 100 years, so it is a highly visible and valuable client to the network. I’ll be looking to give them some fabulous work that will be remembered fondly, well into the future."


Well-known Sydney creative team Matt Smith and Derek Green, better known as the Hairy Banana, have been appointed by Saatchi & Saatchi as regional joint creative directors of Central Eastern Europe, Middle East and Africa, working on P&G. They will be based in Geneva reporting to Australia's Sarah Barclay, Global CD on ArielTide/Dash. As a team, they will have responsibility for the overall creative work, including supervising and training of local creative teams. Besides that, they will also function as a swat team, as well as working on regional announcements and initiatives. Smith and Green have partnered together for more than 15 years, both as a freelance creative team and at agencies including their latest posting Leo Burnett Sydney, plus Whybin TBWA, Saatchi & Saatchi and Young & Rubicam. Their last effort at Burnett was the highly praised Canon "Rodeo" spot.


CB Live hears award winning writer Hillary Badger has had a parting of the ways with Clemenger BBDO, Melbourne. Her partner Linda Honen is staying on and the agency is now shopping for a new writer. Together, the pair have created several award winners, including the Mars "Earth" spot when they were at D'Arcy, the 2005 Cannes Bronze Lion winning Grosby "Spider" spot while at Whybin TBWA and MADC Best of Show winner Dulux "Ghost" at Clems.


Saatchi & Saatchi Auckland are continuing to nick talent from Australia, the latest being art director Matt Ryan from Leo Burnett, Sydney. Ryan's latest work is the McDonald's "Inner Child" spot. Prior to Burnett, Ryan was at George Patts Sydney, where he co created the 2005 Cannes DM Bronze Lion winning work for Aerobie.


Damian Linklater had joined Bush Atkins, Sydney as senior writer. For the last few months he has been freelance at Saatchi & Saatchi Sydney, after arriving back from Kenya, where he was CD at Leo Burnett, Nairobi. Prior to that he was a writer at DDB Sydney.


The Carlton "Big Ad" continues to be debated by the NZ creative fraternity. These comments (in most recent order) appear on

Irrelevant and old

You must be getting pretty long in the tooth to remember those ads old
timer, maybe it's time to swap the trainers for comfy slippers and start
looking round for a green acres franchise.
The point is, big ad works because it parodies something 15 years old, but
every punter immediately knows what it's referencing. Don't think the same
applies to Brucie or pasta whatever.

Irrelevant but true

"Can everyone stop whining and back biting about the Big ad. It is a
great ad and whether or not in should have run 10 years ago is totally
fucking irrelevant."

You are so totally right! I'm going to do up an ad lampooning "Make Pasta
Fasta" or "Eh Eh Brucie" tomorrow and it had better win a bloody shed-load
of awards.

Back biters, the lot of you.

Hear, hear.

Now everyone get back to your bloody shelf wobblers. The link testing starts tomorrow.

For fuck's sake

Can everyone stop whining and back biting about the Big ad. It is a
great ad and whether or not in should have run 10 years ago is totally
fucking irrelevant.
It's going to win a lot of metal and it's also going to sell a lot of
piss. Which is good for all our collective hides as it will show
majority of timid, scared to do anything different marketing managers
that good ads (esp TV ads not fridge magnets, shit that folds and
wobblers) sell stuff.

Original and clever

To paraphrase an old Parker pen ad, which paraphrased a quote by some poncy twat.

Big Ad is both original and clever. However the part that is original is not clever and the part that is clever is not original.


As the anonymous author of "A Beer Poem", I am stunned by the overly defensive over-reaction of the Lynch-mob of Australasian CDs. I didn't say it was a bad ad - just inferred it might have been a bit bigger if it had come out when Hugh Hudson's 1990ish BA Face ad was still on TV. By the mass freak-out, it seems you fellows can't handle a bit of independent thought. I hope it lives up to your hype and single-handedly saves Australia's creative reputation.

Like Tongue.

Dear Todd

Interested to read your comments about Big Ad, Todd. Not being in the advertising industry myself, I'm not sure I could have such a strong opinion. But I am glad that the ad causing a controversy isn't one of my ideas this time.

G Larson

Big Ad is Pants

I've just read the remarks made by quite a few CDs
regarding the big ad, ad. It looks like it's gonna
clean up. Personally I think it's pants and shows just
what a state beer advertising has reached down your
way. I agree too that it's 10 years too late. I can
see why the public likes it but creatives should know
better. I remember and ad for a washing machine that
was a far better parody of 'face'.

UK reader.

Rational Stuff

Point I was trying to make is that having talked to a few beer clients over the past couple of months, Warren’s lot set the bench mark with Tongue, which seemed to spark off a great ad from Danny’s lads at Clems, (Hahn) which then made VB get its act together and out of the blue comes Big Ad. Excellent. Tooheys client is reputed to be over the work it’s had from Nobby’s boys, so suddenly BMF have got a crack at the brief, (back to Tongue again and the follow up, Washing Machine) because guess what, Carlton Draught is killing Tooheys New in sales. It’s got to be easier to sell great work, when the competition’s only differentiating advantage over the brand you’re advertising is....great work.
Because most clients here are ‘followers’ rather than leaders, we just need one client to approve a piece of brave work, that then goes onto to sell more stuff, for the competition to follow. Let’s hope automotive’s next, eh?
There, feel better now.
Mark Lees

Re: Hey Big Ad!!!

We like things big too. Check out


see you soon

Nobel Prize?

We've heard it's a shoe in for the inaugural Nobel Prize for Advertising.

Re: Campaign Brief Big Ad comments from the "Big Guys".

Correct answer guys, you'll all be invited to future
Award juries except Paul Catmur.

Big Beer Ad

It's a great ad. But it ain't no Grrrrrrrr...

Big Ad Furor

Campaign brief section.

For fuck's sake guys!?

Wednesday, September 07, 2005


This was posted by an anonymous Kiwi creative on


It's a big ad
and nicely shot

With very many
in it.
It's a big ad

but hang about

isn't it just

10 ye-ea-ear-eee-ear-ears too late.

Oooohhh, CB suspects written by a very jealous, very Small Ad person. It may be the kiss of death but we bet The Big Ad will win Gold or Silver at AWARD, Clio, The One Show and Cannes (perhaps even Grand Prix or Best of Show at one of those), and Silver (or Silver Nomination) at D&AD....

Agree with the Kiwi? Agree with CB?

Email your thoughts or if having trouble getting through via the blog, email: and I will put your comment on the blog.

Sunday, September 04, 2005


Don't forget to book for the inaugural Gongs, which are destined to be one of the big industry nights of the year:

The Kodak Gongs are a celebration of the creativity of the Asia Pacific Region’s most talented people involved in the creation and craft of commercial moving images.

The awards will swiftly be delivered in an innovative screening format to be followed by a great party.

The stellar panel of 77 regional and international judges included:
Dave Alberts, Chairman Executive CD, Grey, London (pictured at Cannes this year)
Al Mosely, Creative Director, Wieden & Kennedy, Amsterdam
Ben Walker, Creative Director, Weiden+Kennedy, London
Jason Schragger, Creative Director, Strawberry Frog, Amsterdam
Jaspar Shelbourne, Creative Director, JWT London
Julian Vizard, Creative Director, St Luke's Communications, London
Malcolm Duffy, Creative Director, Miles Calcraft Briginshaw Duffy, London
Paul Brazier, Executive Creative Director, Abbott Mead Vickers BBDO, London
Richard Flintham, Creative Director, Fallon, London
Steve Henry, Chairman Executive CD, HHCL RedCell, USA.

Entries were sent throughout the world to be judged and the comments received from the panel noted the high quality of the 628 entries. “Passion for their craft, ideas coming out from all over the place, very exciting talent,” said Richard Flitham, Creative Director of Fallon in London.

On the 14th September, the Gong winners from the 88 finalists will be announced at what should be the industry party of the year.

For bookings call Alice at Two de Force on: (02) 9281 8788.
Tickets are $195 + gst.

Kodak Gongs Sponsors:
Naming Rights Partner: Kodak
Major Partner: the LaB sydney
Partners: Animal Logic, Atlab, Autodesk, Dubsat, Emerald City, FSM, Generator Interactive, Panavision, Song Zu
Sponsors: Australian Creative/AdNews, Avid Australia, Campaign Brief, Campaign Brief Asia, Fin Design + Effects, Postmodern Sydney, MRPP

Thursday, September 01, 2005


It has been pointed out to us that Australian model Michelle Lesley, who is in big trouble in Bali after allegedly being caught with two ecstasy tablets, was the girl on the front cover of Campaign Brief in May this year. She appeared in a print campaign for Levi's "Deconstructed Jeans" via Arnold, Melbourne.