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クリエイティブな仕事をしている某組織に入った瞬間から、そのクリエイターは「歩」から「成り金」となって才能を輝かせるが、高給に魅かれてその組織を出た瞬間から「歩」に逆戻りしてしまうのはなぜか…を40年前から何度もニューヨークへ出向き、その組織躰の当事者たちにインタビューしまとめて1969年に上梓したのが表題の著書です。

「クリエイティビティについて、その環境について、語りあいましょう。」

2009-07-10

Mr.Bernbach talked for 25 years of DDB (1)


DDB NEWS, JUNE 1974


f:id:chuukyuu:20090710025305j:image:right:w150INTERVIEWER: At what point did you realize that' the agency you and Ned and Mac started was going to be successful?


BERNBACH : Well I think we knew it before we opened, because we had a concept that we strongly believed would work.


INTERVIEWER: But you really had proof it would work, didn't you, because you were doing that kind of advertising for Ohrbach's at the agency you were in, yes?


f:id:chuukyuu:20070322110826j:image:left:w300YOUR EYES ARE NEVER BIGGER THAN YOUR PURSE

(1954)


BERNBACH : Yes, but remember that in Mr. Ohrbach I had a client who gave me complete freedom. We had no assurance that we could find any other clients who would do that.

And in fact, when we opened and it was written up, the trade press noted editorially that it was not a good time to start a new agen6y. And there were other agencies that opened around that time that did NOT survive.


INTERVIEWER: Was it a bad time in terms of the economy?


BERNBACH : Yes and in terms also of the established giant agencies.


INTERVIEWER: Do you think it's any more difficult now than it was then to start a-new agency?


BERNBACH : Yes I do, because at that time our work stood alone-no one else had created advertising with the impact that DDB's proved to have. That kind of advertising stemmed from our concept, which was this:

At that time there was not a great deal of competition for an advertising message. Television was just beginning, people had time to read. But it was clear to us that there would soon be tremendous competition for the attention of the consumer. And that unless the advertising message was put down in a fresh way that made people select it out of a bombardment of messages, that made people care and respond to it, it was not even going to be perceived.

It had to be new, it had to be fresh, because if it had been done before, it wouldn't be noticed. That was our philosophy when we started and it's still our philosophy. And because our philosophy (which is altogether a different thing from a formula) is always to look for a new and fresh way to do something, it is a guarantee that we will not follow a formula and grow stale.

Now of course it isn't possible every time up to get something that is fresh and new. But if that is your goal, and it is ours, you are far more likely to achieve it.


INTERVIEWER: If we could go back to the beginning, Phyllis Robinson and Bob Gage came with you out of the same agency, yes?


BERNBACH : I'd hired Bob at the other agency as a young art director and I saw his great graphic talent very quickly. I put him on the Ohrbach's account, on which I had previously used such famous art directors as Paul Rand and Neitzche. And Bob was happy about that, and he had told me that he'd go anywhere that I went. Phyllis was in the promotion department of that agency.

When I saw some of the booklets she wrote, I realized she was far better than most national copywriters. And she felt the way Bob felt, so they both came with us when we opened DDB.


INTERVIEWER: That was some talent-spotting. And there's been plenty since. Does it fill you with pride that your offspring are all over Madison Avenue?


BERNBACH : Yes, it does fill me with pride. I think perhaps that the effect has been a general raising of standards in the advertising business.

It also pleases me very much when creative stars who leave here come back. And I think perhaps the reason they come back is that there is a difference in understanding and climate at DDB that we are very careful to preserve.


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