Project Re: Brief: A Film About Re-imagining Advertising


Uploaded by projectrebrief on 22.06.2012

Transcript:
man: Well, here he is.
I got you.
GABOR: That's right.
man: You ready?
GABOR: Yeah.
Good-bye Detroit. Good-bye big tire.
Hello, Big Apple.
Is this your job?
man: He's got all his stuff.
Look he even brought his Cleo. Crazy, man.
GABOR: We originated from Waterford, Michigan.
It usually takes us 13 hours.
My son Eric did it in nine.
And then it took us two hours last night to cross
the George Washington Bridge.
So welcome back to New York.
GREEN: I got a call.
You know, it was just kind of out of the blue.
Well, there was an interesting project going on,
and then they tell me who else was coming.
And I knew the other people because they were of my
generation in advertising.
I was a little skeptical, frankly, about the whole idea.
GARGANO: I don't know what to expect.
And that's intriguing for me because when somebody gives you
a narrow box to work in, the thing to try to do is see if you
can break out of that and do something completely unexpected.
COHEN: Here I am on a plane going back to New York, back to
the scene of the crime of our most famous advertisement.
And the most exciting thing is I'm going to see Bob, you know.
We haven't worked together in 32 years.
Bob, we were like the perfect team for each other.
He was the Italian art director, I was the Jewish copywriter.
He was the eyes, I was the ears, and we did everything together.
PASQUALINA: How are you doing, buddy?
[Paula Green]
[Amil Gargano]
[Harvey Gabor]
[Howie Cohen and Bob Pasqualina]
[Project Re: Brief ]
[A film about re-imagining advertising]
[Made with friends from Johannes Leonardo]
[and Grow Interactive]
[Directed by Doug Pray]
[Have you ever clicked your mouse right here?]
RAMANATHAN: The first display ad basically said, "To find out
more, click here." And then the 15 years that followed,
that's basically the only innovation we saw.
And so response rates declined from 35% to 0.09%.
People just got tired of seeing the same type of advertising.
If you did the same ad in any other platform repeatedly
for 15 years, you kind of going to get tired.
COOKSON: When you say banner ad, I think clutter and
annoyance, of course.
I mean, everybody has the same superficial reaction.
ROYER: Hasn't advertising always gone to where
the eyeballs are from the first signs to, you know,
newspaper ads that were all crammed together?
I mean, we are constantly chasing people's attention
because we aren't the thing that people are looking for.
It's just so many people don't know how
to do that well yet on the Internet.
REINHARD: If we were obsessed as much today with content and
ideas as we are with technology, we would begin to make some
progress.
BERNDT: If anything can be, it can be good.
I mean, if you have time to make it,
you have to make it wonderful.
GAVIL: Like, to come up with great display advertising,
you need to first come up with just great advertising.
[How can we inspire better digital advertising?]
man: We started thinking about how can we inspire better
display ads?
And not just better display ads, just better ads online and
opening everybody's mind.
And the best way to that, we thought was to take the work
that defined the industry 40 years ago and the people who
defined the industry 40 years ago,
and see if they can come back and redefine
this industry today.
JACOBS: We thought what better way to do it than to take
people that you least expect to be able to do an amazing job,
and take work that you classify as from a different era.
And if you brief those same people to take those same
things, knowing what we know now, what would they do?
GAVIL: So, we brought them out of retirement,
took their most iconic work, and took the idea that was still
relevant and worked in 1960s and the '70s, and brought it to life
with modern technology as just an expression.
PREMUTICO: There's something deeply comforting about people
who've been there and done that.
They've seen change before.
This isn't really about can we make that ad work in display.
I think it's more about can that idea become,
you know, something more powerful?
all: [singing] I'd like to teach the world to sing
In perfect harmony, perfect harmony,
I'd like to buy the world a Coke, and keep it company.
man: I can't believe I ate that whole thing.
woman: You ate it, Ralph.
[We try harder]
man: Trying harder is still the best way to do business.
man: You can drive a Volvo like you hate it.
Cheaper than psychiatry.
[and the creatives who made them]
COHEN: When we used to be editing a commercial,
at some point, Bob would go, "Cut."
And two seconds later, I go, "Cut."
"What are you thinking?" He said, "Well, his hand was here."
I said, "Yeah, but it was in the middle of a sentence."
GABOR: My own impetus is a little bit of insecurity.
Can you do it, champ?
GREEN: I hate pretension.
Is that good enough?
GARGANO: I was born on 1932.
Technology has left me pretty much in the past,
largely because I tend to ignore it.
[Old meets new]
GREEN: I'm not an expert at my computer, but I do email.
Occasionally, I will use Google to look up something
that I'm interested in.
Computer drives me crazy.
GABOR: All I know of Google is the search engine.
I use it mostly for email and to look up all my aches and pains,
and what disease I think I probably have
and I'm gonna die from.
PASQUALINA: The first day in, we were completely immersed
in a technology meeting, surrounded by 35 people.
They just filled us in on the reality
of what they were capable of.
Mike: My name is Mike, and I am part
of the Product Marketing Team for display ads at Google.
SPARKS: I'm Joe Sparks.
I'm from the Teracent group inside of Google,
and we do something called Dynamic Advertising.
COLE: I'm Sally Cole. I'm on the marketing team.
GARGANO: What drives it from 5,000 hits to the millions?
What process?
It can't be word of mouth, can it?
GABOR: What you're telling me is that there can be 25
different things that you sent out?
RAMANATHAN: Oh, 2,000.
GABOR: Okay. That's hard for me to grasp.
I see the banners.
It looks to me like if you were in an ad agency,
you could do it in the morning.
To have something go bwoop, and maybe whoop.
So I'm baffled.
How and when did they come up?
Do you--after you click...
RAMANATHAN: It's the most fast- moving, complex,
ever-changing, competitive industry
in the advertising space.
People think it's too complex, too geeky,
you know, and the buzz words.
And, like, people shy away from that.
And so we have a role in making things simple and easier
because we think it's simple and easy.
man: But everything that you see here is all possible on a phone.
GREEN: You mean a smart phone.
man: Yes, exactly.
GREEN: Because I have a phone, and it doesn't do that.
It just makes phone calls.
GABOR: I don't understand, and I'm going to find out.
My problem is absolute ignorance.
BENDER: If technology is done right, it's almost like magic.
It should feel easy to use.
There should be something that is a new tool kit that unlocks
creative minds.
GREEN: When we got to Google, it was so enormous
that you walk long, long hallways,
pass meeting room after meeting room,
where there are all of these young people sitting around
big tables-- doing what, I have no idea.
PASQUALINA: Oh, God, It's insane.
They were barefoot, and they're cool,
and they're young, and they look great.
And God knows what they understand and do.
GREEN: I thought it was so amusing.
I said it's like a playground. It's like elementary school.
PASQUALINA: We needed a guide constantly.
GREEN: I've always been a writer, ever since I can
remember, including third grade.
But I had no idea that I was going to be in advertising.
I can tell you I didn't even know what advertising was.
It's very simple, but if you look at it,
it is an argument, it is a syllogism.
We're number two, but we try harder.
We're putting our name on the line.
We can't afford to give you a dirty car.
We can't afford to give you windshield wipers
that don't wipe.
We can't afford to give you dirty ashtrays.
We presented a company that was willing to work for you.
It was sort of like tacking up the manifesto on the door.
And the one thing I'm sure we did is kind of write a manual
for the whole rent-a-car business.
I think we hit a chord.
People talked about it a lot.
They were intrigued by it.
So when people started to say, "Hey, we saw your ad.
It's terrific," everybody kind of perked up.
They began to be very proud, and the whole organization changed.
The cars got better care, the costumers got better care.
They began to get a lot more costumers.
Their advertising has included, "We try harder"
for years.
GABOR: I worked in New York from about 1964 to,
God, about 20 years.
I'm retired, but I miss the action.
I miss the sturm und drang.
Somebody said, "Are your creative juices flowing?"
I said, "Not only that, they're the only ones."
[The Creative Sessions Begin]
woman: Good morning, hey.
man: Good morning. SPARKS: Hi.
GABOR: How are you? man: Fine.
GABOR: Please be seated.
I'm Harvey Gabor.
I'm one of the six grand old men of advertising.
NOSTITZ: When you created Hilltop, what was that thought?
What was that one thing that you kind of said, "Okay,
"this is now taking it from something that's okay
to something that's really great"?
Because Hilltop had, like, a real message and an insight.
GABOR: I don't really have that, but I can tell you
how it came about, which is mostly instinctive.
The hero was the song.
I think the next thing that was very important was the humanity.
It talks about the world, but it really speaks to one person.
[singing] I'd like to teach the world to sing
in perfect harmony.
GABOR: There were two guys in England, Kork and Greenway,
who loved the melody,
which was so simple, and it was so beautiful.
I thought that it would be interesting to do
a united chorus of the world.
Tepidly, they liked it.
I thought it was really pretty good.
Of course, the rest is history.
People were humming it.
Coke got 100,000 letters from people
saying that they loved it.
It matched their personality perfectly with the brand.
This is, now-- You guys got to correct me
if I go in the wrong direction.
I'm old at it, and you're new at it.
woman: Yeah.
GABOR: I think this-- this is not just me.
I think the song is sacrosanct.
I think that we don't touch the song other than I can help you
edit if you want to.
[singing] I want to buy the world a home
and furnish it with love.
Silence--I want to buy the world a Coke...click.
Well, apple trees, honey bees, snow-white turtle doves.
Maybe if they click, maybe it's a thing where it goes,
and it shows a frame where you're buying a friend a Coke.
Maybe it's the--I want to understand more
of what the depth of the banner is.
Surely, it's more than a strip across the top.
Surely, this week is going to be something a lot more than that.
I can't imagine it would come up to the 60 second in terms
of emotion or depth of a feeling.
I can't imagine that.
It looks to me like it will be always be a step down.
The most important thing is that we get enough people in here.
The rest of the stuff, the doves and all that stuff there,
the real subject of "buy the world" is the people.
CLACK: How do you feel about maybe instead of showing
the people, is there anything to, like, connecting people?
GABOR: You know better than I do
how to start connecting people.
You know, how about your mother-in-law?
I don't know. It wouldn't be--
BERNDT: There are so many ways that you can connect
what someone sees on a screen to the entire rest of the world.
It's daunting and that's why the best thing
that we could possibly do
is connect together deeply technical people with creative
counterparts, and actually explain to them how close
they are in goal and temperament--
that they're makers.
And where we put those people together well,
you see amazing things.
COHEN: Are we sitting together?
PASQUALINA: Oh, do we always sit together?
COHEN: Our classic commercial is made for that box,
and its isolated one moment.
Everything happened right in that commercial.
man: I can't believe I ate that whole thing.
woman: You ate it, Ralph.
man: I can't believe I ate that whole thing.
woman: No, Ralph, I ate it.
man: I can't believe I ate that whole thing.
woman: Take two Alka-Seltzer.
COHEN: And there's, like, 25 of us around this long table.
Beef and pasta and fish, and...
PASQUALINA: The lobsters.
COHEN: Chicken and salads, and the lobsters and desserts,
and the wine and the brandy.
And I'm a nice Jewish kid from the Bronx.
I eat everything in front of me, and I lean back and I go,
"I can't believe I ate the whole thing," and my wife says,
"There's your next Alka-Seltzer commercial."
woman: Did you drink your Alka-Seltzer?
man: The whole thing.
man: It was shared around the water cooler, it was shared--
Anytime anybody sat at a table and felt that thing,
and they said, "I can't believe I ate the whole thing,"
they were instantly funny, they were a hero.
And that's why it spread.
Very much like the viral stuff you feel today.
Three networks. When you put it on, everybody saw it.
Everybody was saying it,
and sales were turning back up again.
GOVIL: How many of us have shared or even sent an email,
either a photo of what you're eating--
you know, your guilty pleasures you're indulging in...
UNGVARSKY: Christa says, "Just ate so much.
Frown face. I feel like dying."
COHEN: That was from [indistinct].
"Thought I was gonna die."
UNGVARSKY: "I just ate all the red and pink Mike and Ikes.
Now what?
COHEN: So is this the site that's dedicated to food and...
UNGVARSKY: No, this is--this is just the social sphere.
Say anything you want. COHEN: That's all?
UNGVARSKY: Yeah, this is all in the last minute.
ROMANS: Once we start looking at it like this,
you can immediately see sort of
what technologies are going to start
becoming applicable to helping us, you know, really bring that
sort of direction to life.
There's something really nice about the fact that we're
dealing with a medium that for the first time we can interact
and see things happen in real time, you know what I mean?
We can affect it. We're not just a passive--
COHEN: And affect the conversation.
We can--we can speak to people.
ROMANS: Yeah, exactly. Exactly.
BENDER: The medium is social.
You could share really cool things with your friends.
That's what the great advertising is now.
We're letting advertisers and consumers interact in ways where
it really is now a two-way dialogue.
WOJCICKI: The users are telling us what they're
interested in, and where they want to go.
They're telling us stuff about them, and so it's an opportunity
for the brands to create dynamic experiences, compelling
experiences, have conversations.
ROMANS: Can you give us some insight into what your original
"Drive it like you hate it," was tapping into?
GARGANO: "Drive it like you hate it" was visceral.
Its personality grabbed people's attention, and when you
ran an ad like that in a full page bleed in "Life Magazine,"
which was a format by 10 5/8 by 14 inches.
It jumped off the page.
It was--it was powerful.
Volvo gets over 25 miles on a gallon of gas,
just like the little economy cars,
and runs away from other popular-priced compacts
in every speed range.
GARGANO: In 1962, they were anonymous.
They needed help almost everywhere in terms of an
identity and a personality.
We said, "Let's make this car brutally real."
And so what happened is that Volvo sales
began to soar up, maybe triple
to what it was in a four, five year period.
God, I remember getting in the car with this rally driver.
He said, "Amil--" He said,
"Would you like to go for a spin?"
I thought it was the dumbest decision in my life.
This guy drove like a maniac.
man: And you can drive a Volvo like you hate it.
Cheaper than psychiatry.
GARGANO: This is on YouTube?
man: This is on YouTube. Yeah.
woman: You can see all--
You could probably see all of your old work on YouTube.
You just need to search it. Yeah.
ROMANS: I don't--I don't think we're locked into
a sort of just speaking about Avis' mantra.
I think we can--we can definitely open up to
actually demonstrate.
GREEN: Oh, I think that's much more interesting.
The concept is this pride,
and we do this because we can't afford to do otherwise.
We're not number one.
We don't say we're not number one.
We say we're only number two.
GOVIL: She kept bringing us back to trying harder, not being
just a tagline in a three-word manifesto.
GREEN: I was concerned that technology would rule rather
than the idea, because I think that it I can get swept away by
all of this newness, like little toys to play with,
but that's really not the point.
It's not the point of advertising.
The idea is primary.
GARGANO: I don't know why that you need the execution
to come with a broader idea in terms of appeal.
BEELER: I guess, when I'm talking about execution,
I'm trying to find that beautiful thing.
GARGANO: You've got an ad-- If it's done right,
it's a brilliant execution for a banner ad.
Am I right about that or am I not?
BEELER: Yes. I think you're right.
GARGANO: Let's deal with that.
That's what we've got.
My question is now, how do we get people to see this thing?
Don't get it any more complicated than that.
man: Yeah.
MATHENY: We need an ad for our ad.
GARGANO: That's exactly right.
That's exactly right. It's an ad for an ad.
And that's what the banner ad does.
That's with the first 15 seconds does.
Thank you.
RAMANATHAN: Amil was tough.
His role was basically that he kind of come in to it as being,
"All right, you guys are the guys
"with the technical knowledge.
You guys are the new creators, you know, bring it."
He didn't want us to kind of just come back with
something that was to do with his old campaign.
He wanted us to innovate and come up with something new.
GARGANO: They will tend to become ensconced a lot smaller
ideas, and it's my job, I believe,
to keep bringing them back to what the major idea is.
Because it can be executed in any number of ways
if they can keep focused on it.
Who are we trying to reach, what do we want to tell them,
and here's how we're going to do it.
If I can get them to stay on that, then that's my job.
BERNDT: They see a tiny box on a screen,
and they know that box can do anything.
It can see, it can hear, it can sing, it can play,
it could take directions, give directions back.
It can--it can change more, grow, do just about anything.
So, if creativity loves constraint, that is the absolute
removal of restraint, which is sometimes liberating,
and sometimes can just send you into a sort of a dead-flat spin.
RAMANATHAN: But it's about being able to say here's the
vision, and here are the new boundaries, and let's figure out
how we deal with all this wonderful technology we've got.
REINHARD: If Bill Bernbach were, here what would he say
about what's going on?
I believe he would say, "You're making it too complicated."
He said among many other things, "Always adapt your technique
to the idea, never your idea to the technique."
COHEN: If we went into this saying we have to improve on
I Can't Believe I Ate the Whole Thing, we'd be putting a bullet
in our head.
If we say there's a basis for some kind of
connection using I Can't Believe I Ate the Whole Thing,
but it really has to be totally re-imagined and become something
else, that's the opportunity.
[Inspiration]
PASQUALINA: You don't know where it comes from but there is
a process, and that is understand, understand,
understand the problem, and then forget about it.
COHEN: I sat down one time to try and define it, and I came up
with what I call the Four Is of Creativity.
First I is intuition, but there's an intuition,
but we don't have very much information yet.
So, the second I is information.
Let's find out what this is about.
Let's see the technology.
And then the third I is incubation.
It's like a creative soup, you know, you go to sleep,
you go in to shower.
You're not thinking about it,
and then all of a sudden, the fourth I happens,
its inspiration, and then you have an idea.
What I--just a thought, but um...
I Can't Believe I Ate the Whole Thing, 30 seconds,
one line, and yet there's a whole life there,
the whole story.
He's got relatives, his got friends.
She's got--they've got their relationship.
man: Is that his wife?
Or a guy in drag.
COHEN: You know what else it is?
It's trust, because you got to be able to trust
that whatever you say is going to be okay.
And a stupid idea can lead to a great idea.
PASQUALINA: I don't like this idea.
COHEN: No? PASQUALINA: No hard feelings.
COHEN: Don't do that to me.
PASQUALINA: Howie believes we're geniuses.
I believe we're idiots, and we're both right.
COHEN: No. I said I'm a genius, you're an idiot.
PASQUALINA: Either way, the combination works.
CLACK: Harvey and Matt.
Matt's in Paris, Harvey is on his computer in New York City.
And when you click this banner, this comes out.
GABOR: You can do that? CLACK: We can do this.
GABOR: That's very good.
I don't have a particular way of working.
I read the strategy, do all the research.
It's a stream of consciousness, et cetera, et cetera.
What inspires me is to recreate the feeling you get when you
think you've nailed the creative project, and it's a rush.
If you're working with a partner,
you say something, he hits the ball back.
He gets excited, and pretty soon you have something on the table
that the world never saw before.
The song is going to continue to play,
but picture stops.
And then you're off to the vending machine.
woman: Yeah. I think that totally works.
GABOR: We're in clover, then. We're just fine.
CLACK: All right.
GABOR: The creative moment is instantaneous,
and it's the greatest feeling in the world.
You're in flow, they call it.
Nothing beats it. It's better than sex.
Is my wife going to see this?
I remember sex.
GARGANO: Have you considered taking an actual owner
who may have 240,000 miles on a Volvo?
man: I was looking at a Volvo at 100,000 Mile Club
and the guy who started that is a guy who has 2.7 million miles
on his Volvo.
man: Wow.
GARGANO: There is--that's what you--there's the guy.
We have to get--you have to get a hold of that guy.
man: He's in New York.
GARGANO: See, that, to me is great advertising.
GARGANO: When you can take something like that
and turn that into a nice piece of human film.
Boy that is--that's real substance.
That's wonderful.
BEELER: How do we tailor that for a banner?
GARGANO: That's your job.
UNGVARSKY: He tells you, "Don't tell me how they're going
"to interact with it.
"Don't tell me, you know, what button is going to look like.
Just tell me what the story is."
And when-- and when we knew that story,
we knew immediately how to start bringing that to life.
We all knew it. We walked out of the room
and started working on it from that day.
And the rest was just the clockwork of production.
ROMANS: If I learned one thing from this, it's that--
it's still that the idea is still king.
We're just dealing with a new way of bringing that
to an audience.
CLARE: But tomorrow, we're going to be presenting a couple
of ideas to these brands like Coke and Alka-Seltzer,
and hopefully they're as excited about them as we are.
BEELER: We're finalizing the ideas and figuring out what
it is we want to show.
So, we have teams now, kind of, almost in real time, as we start
to get to more concrete things, feeding us what we're supposed
to be doing for their presentations, like, bright
and early in the morning.
So it's going to be a long night.
GOBAR: This is really the situation room.
This is--this is heavy. I'm--
NOSTITZ: Well, at least it has a good view, right,
situation room? So basically,
yeah, we're just trying to figure out
the thread of how we're going to present this, and how
we're going to set the creative work up.
GABOR: I'll probably take them through the board first.
NOSTITZ: Mm-hmm.
GABOR: Then I'll sing and point to--point to stuff.
NOSTITZ: Okay. GABOR: Okay. Thanks a lot.
NOSTITZ: I think we're good. GABOR: Sounds great.
NOSTITZ: Thank you, sir.
We were tasked with a daunting thing
of recreating something that the world loved
and doesn't want touched.
It's like sacred, holy ground and so you're kind of scared to
mess with it too much.
We're going to have a lot of work to do tonight to kind of
get this presentation up to snuff and make it what
we want, but it's close.
NOSTITZ: Thank you. GABOR: See you later.
man: The night before the first presentation deliverance,
you know, if we're being honest, we're all really nervous, like,
how would they react, you know?
Will they like the ideas?
Will they let us play around as much as we wanted to?
There were a lot of very long hours, you know, a lot of sweat
and tears into getting to that idea.
man: Good night, guys. COHEN: Goodnight everybody.
man: It was a very tough process.
We were all up until, like, 5:00 A.M.
When we first went to the brands and asked for their most iconic
ads and told them that, "Hey, we really want to play around
with these..."
It's like somebody giving you their baby and telling you,
like, you know, "Go, have a fun day." It's a scary for them.
[Client Presentations Begin]
GABOR: Oh, my God. Oh, my God.
Por moi? Holy cow.
woman: Harvey, I wanted to introduce you to Jackie.
JANTOS: Hi, Harvey. I'm Jackie.
GABOR: Jackie, nice to see you.
JANTOS: Nice to meet you.
I've heard a lot about you than you probably heard about me.
GABOR: Thank you.
Well, 40 years ago, Bill Becker and myself had a wish,
and the wish would be to buy the world a Coke.
So, 40 long years have passed, and I've lived long enough
to know that now we can deliver that pitch tomorrow.
[singing]
I want to buy the world a Coke, and furnish it with love,
grow apple trees and honey bees,
and snow-white turtle doves.
Do you know what a great 125-year-old soft drink needs?
Bang, click, bang, click.. A little magic.
woman: This will be not only the banner on the Internet,
but also, we will have a functioning vending machine
that is synched with the Internet.
You pick where you want to send it, and all the way across
the world, the Coke will come out of the machine with the
message from who it is from.
JANTOS: I know. It's wonderful. It's beautiful.
I love that you didn't touch the song,
and you kept it exactly as it was.
It's how it should be.
GOVIL: Do you think this is something, from our standpoint,
that we should move forward and try and, you know,
make it happen?
JANTOS: Absolutely.
It's an idea that can move forward.
GABOR: Thank you for this. It's very good.
NOSTITZ: It was so good.
GOVIL: The point is if a 78-year-old man
who has barely ever used the Internet
can come in, sit with us for 48 hours
and then come up with an idea
of how his work from 40 years ago
is going to be translated into a display, and still make sense,
and actually advance the idea...
I mean that's fascinating.
[Avis Client Presentation]
man: This is Alex.
HAAS: Hi, how are you? ROMANS: How you doing?
HAAS: Jessica Haas. Nice to meet you.
AMY: Hi, I'm Amy. HAAS: Hi.
ROMANS: So this is just to give you an idea of what we are
still looking at.
[Jeanine Haas, Chief   Marketing Officer, Avis]
As our first example, we're talking YouTube content, right?
So how can we sort of take the pre-roll that exists before the
movie and instead of just having it as a--as an ad that causes
disconnect, that can now be this great little sort of prequel
into what they're about to view.
It's like a fun entertaining prequel that AVIS provides that
leads as a nice segue into whatever content they're viewing
about.
GREEN: They were thinking about the young new consumer not
necessarily the regular traveler.
[Paula Green, Copywriter]
You know, they were looking for something more hip in terms of
how to do this today.
HAAS: And I don't know I guess it all depends on the
topic.
It could be narrow, right?
The topic, it could be a very small segment of people that are
truly interested that want to keep reading about them and...
man: Uh-hmm.
HAAS: ...seeing everything about this so that you're a
little bit a leap of faith...
man: Yeah.
HAAS: ...that, you know, I might have seen the movie but I
may not be that interested.
I guess I like it when it's--when it's a real story...
NOSTITZ: Uh-hmm.
ROMANS: Uh-hmm.
HAAS: ...versus a fabricated story.
GREEN: The solution is in really finding out what's in the
product as you discuss it and all this things and sometimes
you'll hear it in a meeting with the client that the ability to
identify it that that's what you've heard is important.
HAAS: Think of how many people take the time to write
stories today, write letters and thank people.
Most of what people hear in service industry is when things
go wrong.
GREEN: Uh-hmm.
HAAS: So when you do get those, you know, usually it has
really made an impact if somebody writes in and tells you
what went really right.
GREEN: It's very interesting how you learn from the personal
experience and the ability then to turn into something that you
think other people will understand as well.
RAMANATHAN: So let us as a team kind of regroup and kind of
bring something back to the table if we can.
HAAS: Sure.
RAMANATHAN: Yeah.
GREEN: After the rejection, I think it was very difficult.
But I think it was a very important learning meeting
because in saying what she thought, she outlined a whole a
lot of stuff that we didn't know.
BENDER: We're only a decade and a half into this.
It's TV and its first 10 years or, you know, radio on its first
10 years so you just--we've got I think so much more to go.
BERNDT: There's the Wright Brothers who have this marvelous
invention and scientifically, technologically, it's mind
blowing.
It changes everything sort of but it isn't until there's the
DC8 or the DC9 and lots of people can people can fly
that the world changes.
So if we invent things here, that's great but until we get
them to a point where a lot, a lot, a lot of people can use
them and use them well they don't have the power to change
the world.
[Alka-Seltzer Presentation]
PASQUALINA: Hi, hi, hi.
COHEN: Wow.
PASQUALINA: Hey.
COHEN: In the original commercial despite being a rich
character we only meet Ralph at the very end of the day for a
very short moment.
In that 30 seconds, people sort of got a whole feeling for a
relationship and a problem and so, "What happened?
What really what--who is he?
What did he eat?" so the idea is the day Ralph ate the whole
thing and you can participate in that.
So this is an immersive display experience that shows Ralph's
day in a parallel with the viewers playing out with a new
installment each hour of the day.
ROMANS: We can bring things from my world into the banner.
This is really where the personal realization comes in.
The time on the wall is the same time as the time that I'm
looking at the corner of my screen.
man: Yeah.
man: The weather outside of his window is the same as the
weather outside my window.
We can impart all those little cues that we've got about this
person and we can serve it back to them, you know, when they
feel that connection suddenly with Ralph again.
PASQUALINA: It's just a tip of the iceberg so it can be
tailored to what you feel is relevant
and get the message at that time.
SCHWIETERMAN : You know, it's exciting for someone like me on
the brand today to be part of such a rich history and
heritage, you know, it was something that was so iconic
and, you know, living with that legacy, it makes me really proud
and also makes me feel a little bit of pressure.
You know, to keep that going but I love--this is--this is a great
way to do that, so thank you very much for your guys time
between...
RAMANATHAN: I think brands are just looking constantly to
figure out how to best use their marketing dollars and cut
through.
GEVELBER: I think in some ways consumers really build
brands in ways never before and the brands that are smartest are
taking advantage of that.
They're providing more and more opportunities for consumers to
help build their brand.
And back when I started, there wasn't really a great way to do
that.
ROMANS: And when we stumbled on this story of Gordon, we
thought could there be a better testament to what Amil was
talking about in that original advertising back in 1963.
And what it really boils down to is 3 million miles worth of
memories, right?
So we've got this huge emotional jackpot.
And using Google Display Technology, we can actually send
those stories direct to the person they're going to be
relevant to.
man: And we could actually outfit this car.
We'll do it very carefully so Irv won't...
woman: Get upset?
man: ...be too upset but, you know, to account where he is the
world right now and in this reliving of the story and then
counting up towards 3 million.
GANGERI: So with--you know, we're a humanity brand and this
is humanity at its best.
So how could you not think this is spot on?
It's brilliant.
GARGANO: It's difficult, I would think, to sit here in an
office and try to imagine what he may have been through sitting
and talking to the man himself and having him review over an
extended period of time some of the interesting stories of his
life.
I'm sure he--it's got to be fascinating, that he may very
well have befriended a lot of people in the course of his
driving.
GORDON: How are you?
GARGANO: A pleasure to meet you.
GORDON: A pleasure to meet you.
GARGANO: Wow, the car's in beautiful shape.
Is this the P1800 or is this a different...
man: No, P1800 S.
GARGANO: It's the S.
Okay.
man: The story?
man: Oh, my god.
Oh, my god.
I thought my wife kept saying this but...
GORDON: You can drive a Volvo like you hate it.
They're built that way, you know.
They can take a lot of punishment.
[Eight weeks later, Paula and team present
a new idea to Avis]
GREENE: I almost wore my jeans.
Why didn't I?
Everybody else did.
I mean, I just didn't think it was proper.
woman: Hi.
HAAS: Hi. ROMANS: How are you?
HAAS: Good to see you again. ROMANS: Good to see you again.
HAAS: How are you? man: Good.
We really took what you said last time on board and I think
we've come up with some really good strong directions.
So our idea was can we capture authentic customer experiences
by inspiring people to turn their testimonials into
personalized visual stories?
The plan would be that with a team of illustrators, we can
actually turn people's letters into these small animated films.
Our plan is to develop thousands of these individual frames that
are going to turn these letters into something that could be
actually really quite touching.
GOVIL: So a customer, they just write a letter normally in
plain English.
HAAS: Uh-hmm.
GOVIL: And then we would start off where the algorithm
password through and figure out which of these thousand frames
make sense and stitch the video on the fly.
HAAS: Okay.
GOVIL: And the output is a 30-second video which lives in
that banner and then you can do all social things with it,
right?
PEEBLES: Well, it's a crowd source campaign.
GOVIL: Yeah.
PEEBLES: But it's the framework that keeps it true to
the brand.
GREENE: What distinguishes you besides your service is your
attitude which appears in your ads
and I think this new idea of
using the technology is another kind of advertising that sets
you apart.
HAAS: You took a lot of the feedback from the last session
we had and I think you guys did a nice job to sort of keeping it
authentic.
But I like the idea of this opportunity for people to kind
of create their own.
I do think about how wide and vast all the possible screens
have to be to make that kind of come together in a way that
would be cool and interactive.
But I like the concept.
BEELER: What you're seeing here is a listing of the
hundreds and hundreds of letters that we actually received from
AVIS that helped us shape our logic and how we put together
what these scenarios would be.
They're all encapsulated in this one huge spreadsheet.
That's just absolutely mammoth.
man: So you've got this massively complicated artificial
intelligence system that's taking, you know, how did AVIS
try harder for you and saying, "I know what that scenario is
and I know what parts of the story they are and now how do I
tell that back in animation."
BEELER: Two quadrillion, three hundred and two trillion,
eight hundred and fifty-seven billion, one hundred and
fifty-eight million, four hundred thousand?
man: What?
BEELER: Items of awesomeness.
man: This number is just for the illustrations.
So really, this number is going to be bigger when we figure this
thing all out.
[Nexus Studios, Avis animators, London, UK]
KIRKHAM: So today I've been drawing generic locations.
Here's a beach and these are all drawings and grids which Johnny
has devised.
So these individual assets will interlock and create dynamic
animations.
That's lakeside, some mountains, ominous black clouds,
suburbia, nice white clouds.
YOUNGMAN : We're still at the beginning and we don't quite
know how many animations we're going to actually be able to
produce and how they're going to fit together and what stories
are going to be made.
It's animation but with a little bit of magic in it.
KELLY: I would say it's a bit like going--it got fit in where
you're going up for the beginning of a roller coaster.
It's like tick-tick-tick, and you've no idea how high you're
actually going to go up.
We don't really know the full extent of what we have to create
yet.
YOUNGMAN : No.
KELLY: But we know it's a lot.
YOUNGMAN : We'll just end up going raaaaaaa!
[Blair Neal Creative Technologist Fake Love]
CLACK: So, this is our mobile banner that Ricky has actually
developed and I designed.
You'll see this little tiny silver of a banner with the
Coke ad in it.
When you click it actually will play the original commercial.
WILLIAMS: And then we play this visual voyage, this
animation that simulates the free Coke being sent and there
it is to Cape Town, South Africa.
man: The Volvo Tyler execution has to work across
all of these different tablets.
So, all of them have their kind of quirks and if something
goes wrong on one, its not guaranteed to be going wrong on
the other so you have to kind of troubleshoot case by case to
make sure that everything is functioning the way it is.
GOVIL: When you want to watch a video right now,
which website do you go to?
Do you watch it on your TV?
Do you watch it on your radio?
Do you want to watch on your iPad, phone, laptop?
It's like it the same choice, choice, choice of media and
technology, right?
And the same thing like, "Oh, should we put it the banner ad?
"Should we do this?
Should we do that?"
The challenge right now has become not how many things we
can come up with but what we can do without.
WOJCICKI: We do this full time.
This is all we do and yet I am constantly learning about new
things that I, you know, that were just invented last week.
The speed of change is really overwhelming and I think that's
also--that's the exciting part but it's also the challenge.
COHEN: I mean the business is going very fast.
PASQUALINA: Uh-hmm.
COHEN: You know what I mean?
We used to have maybe three weeks to solve a problem and
now you got three days.
PASQUALINA: And now you got three minutes.
COHEN: Three minutes.
man: This is not like any other TV commercial.
This has never been done before so it's not going to be easy.
man: Right.
DADZIE: At this point in the scene they've just gotten out of
this sticky situation, there's people and now they're ready to
start interacting with each other while they're in the car
and you get to kind of propel
them into a ditch by playing
a little radio roulette.
man: This is essentially a logic diagram, right?
So, imagine this is the point where you get the first option
to choose a radio station.
All right, the film is blank.
man: Uh-hmm. man: It pauses.
If at three seconds they're like, "Oh, what if I could
change the sound again?"
COHEN: In the old days all we had to worry about is,
is this line funny?
man: Right.
[laughter]
CLACK: This is a work in progress.
And he's modeling it after some of our favorite 70s TV shows.
COHEN: Right.
I like the look.
I like the type face.
The only thing I have a question is, "The" is more than the whole
thing and I think that "The Whole Thing" as an entity,
a unit.
[Milt Moss, The Original "Ralph"]
COHEN: Do I get a hug? MOSS: Absolutely.
COHEN: All right, Milt.
Good to see you.
MOSS: You know what I kept saying that...
COHEN: Forty years? MOSS: [speaking French]
In French, "I can't believe I ate the whole thing."
COHEN: Yeah.
You speak French with a Yiddish accent.
MOSS: Are you kidding? COHEN: What's with that?
MOSS: I'm number one in the country as a put-on artist.
COHEN: Give me the line once more.
MOSS: I...
COHEN: Just let me hear it.
MOSS: I can't believe I ate the whole thing.
COHEN: We were trying to find our Ralph, the guy who is like
the original character and finally just before the last day
of casting we found this guy, Larry.
He actually embodies the original character.
FEMALE: On your mark.
man: So, here we go.
ROMANS: When you click it will poke him in the face and it
will be like you're poking him
in the face or you can shake him.
man: We're still rolling.
Are we good?
man: Yeah.
man: Okay, cut, cut. man: And we cut.
ROMANS: We need to now have a look at this shot.
PASQUALINA: Two crews going on at the same time and three
things being set up at once.
It's a little different than the solitude
of the bedroom and...
CLACK: When you look at it you'll see things in the opening
sequence that relate to you.
PASQUALINA: But...
CLACK: So, you'll see like it's in your town.
PASQUALINA: That's good.
CLACK: The idea is to get it as synced up to the--to the
street view as possible so you can see like we're
kind of moving the background with the...
COHEN: That's so great.
CLACK: ...foreground.
So, he's actually driving down your street.
COHEN: Street? Oh, wow.
CLARE: We're on the road with Gordon as he's driving towards
three million miles.
We're filming this as a road trip.
So, we're getting some awesome footage, some great interviews
with Irv, meeting a lot of characters along the way.
And it's just incredible to see the effect that it has on the
people as he drives through these towns and to hear them
when they find out he has driven nearly three million
miles.
It's just astonishing.
GORDON: Nothing has ever been like this.
man: Right here.
GORDON: The video production is very, very, interesting.
Very confusing, very erratic.
man: Okay, ready?
We're rolling.
So, action.
GORDON: This car has never let me down yet.
I love my Volvo.
CLACK: And once they click it.
GARGANO: We created the personality.
That's what advertising agencies do.
They create personalities.
They create an association and
a persona that s largely the
creation of the creative people in an advertising agency.
ROMANS: We're constructing this banner ad for a tablet.
This is a really rough beta test.
So, if you just drag that little guy across you can see that we
actually start scrolling through different stories.
And up here, the odometer is changing on and on.
GARGANO: That's funny.
ROMANS: So, if we're going to play a video then we go straight
into the experience.
GORDON: When I was seven years old my folks decided to
spend the entire summer traveling around the United
States.
And we went just about every way anybody wanted to go.
And it was a trip that I never forget.
I've been trying to recreate the feeling I had on that trip ever
since.
[Volvo display ad film]
I'd like to stop every couple hours, you know, see what's
going on in town.
It's fun.
You meet a lot of nice people.
ROMANS: We've got the car hooked up to Google maps, right,
so we can actually see how he's--how he's moving along,
you know, as his campaign is live, you know.
We can have him updating in real time where he is.
GARGANO: It has a nice feeling to it.
There's a lot of warmth to the thing.
And I like his homespun kind of view of life and the fact that
you take the long road because that maybe you the best way to
go somewhere.
NOSTITZ: If you click that this is when--this is the moment
that your Coke actually goes from...
GABOR: Oh.
NOSTITZ: Where you are in Michigan.
GABOR: Wonderful.
Yeah, it's great.
Google Earth.
NOSTITZ: Yeah.
GABOR: Type's gotta be bigger.
If I'm on the computer I-- and my eyesight's pretty good.
It's too small.
NOSTITZ: Yeah, I totally agree.
GABOR: Even if it--even if it's either drifting on it
or something.
NOSTITZ: Yeah.
CAMPBELL: We're trying to target a 10 second or less
render for a 30 second video.
So, this FPS needs to be up to 75.
It says 750 frames in 6 seconds.
GREEN: What I didn't understand was if I'm doing it
and somebody else is doing it, and somebody else, you can...
GOVIL: Everybody gets to see it live.
GREEN: you can accommodate all of those?
GOVIL: Everybody in the world.
woman: In 15 seconds.
GREEN: Okay.
I really don't think I want to know that.
I think that's too much for my head.
GOVIL: I was going to say,
should we pull up the motion test?
woman: Yeah, yeah.
Here we go.
man: Here's one from Rachel.
After visiting in Avis branch in Mountain View, she realized she
mistakenly left behind her cell phone.
Michael, the costumer service rep on duty was happy to help,
searching high and low and eventually finally finding it in
between the seats.
He promptly returned it to her.
If we don't return a lost item we could loss the customer.
After all Avis needs you, you don't need Avis and that's why
we try harder.
GREEN: Well, it's something else, isn't it?
It's terrific.
I think you're very far along.
woman: Okay, I think we go that way.
GLASER: From a consumer standpoint you just type in,
"I had a great experience with Avis today
"because they held my car
because my flight was delayed.", sent.
And what comes back is a person speaking just like you or me
that says "Mike had a great experience with Avis today
"because his flight was delayed and they kept the counter open
for him."
man: After popping into an Avis branch in Westchester she
realized she misplaced her cell phone.
Was it in the glove box, under the seat, trapped behind the
bathroom sink?
One of our associates, Iris, was happy to help, searching high
and low until she found the item and returned it on the spot.
We're still a little hungry.
Costumers aren't a dime a dozen to us.
That's why we can't afford not to return a lost item.
It's all part of why we try harder.
PASQUALINA: It's written down.
This is the setup to the montage in the beginning.
COHEN: Yeah.
PASQUALINA: And what it tries to do is reflect the whole
disaster of his life.
COHEN: This is your little opening 70s song for...
ROMANS: Yeah, yeah.
COHEN: ...like if this were a sitcom.
ROMANS: Oh, yeah, yeah.
COHEN: Don't let the itty bitty bumps on the road get you
down.
man: Here we go.
[commercial theme song]
Male singing: Don't let the itty bitty bumps in the road
get you down.
Put on a smile and head for the bright lights in town.
[Alka-Seltzer Display Ad Film]
man: If you're going to do anything, do the whole thing.
If you're going do anything, do the whole thing.
Life is a feast, so go and make it.
[Howie Cohen, at home in Los Angeles]
man: Love's all around, just reach out and take it.
If you're going to do anything do the whole thing.
The whole, whole thing.
COHEN: Man it feels so much like, of that genre, you know?
Like, here's our 70's sitcom.
ROMANS: Yeah. It looks good, right?
man: Hey, what are you doing? That's my TV.
ROMANS: Alka-Seltzer is taking who you are as an audience and
customizing a story to you.
So a story starts being told and then you get to a point where
you want to customize that based on who you are from a series of
ten clips that are relevant to different types of audiences or
different geo-locations and we would bring that part of the
story in.
ROMANS: Poke around.
Poke around the space.
COHEN: Oh, that's great.
ROMANS: Keep moving and you're going to wake him up.
COHEN: Yeah.
I'm pulling his eyelid.
Oh, he really moves around, huh?
Okay, good.
woman: You ate it?
man: I did?
woman: Why didn't I listen to myself?
Now, what am I going to serve for dinner tonight, huh?
man: I can't believe I ate the whole thing.
woman: Yeah.
You ate it.
man: I can't believe I ate the whole thing.
COHEN: So the concept was it's going to be personalized
and I get that.
I'm seeing it personalized with my weather right now.
This does mean when this runs, it's going to be personalized
for thousands of people?
ROMANS: Yeah.
It's--I agree, I still find it bubbly.
COHEN: And Bob right now is in Massachusetts probably
getting snow, right?
Poor Bob.
I'm in LA.
[laughter]
[The interactive machines are installed, New York City]
man: No? Oh, wasn't it?
man: No, a can got stuck.
man: Oh, okay.
GABOR: What did they say, you can take the Bronx out of
the boy but you can't take the boy out of the Bronx
or something like that?
I'm ready for my close up Mr. De Mille.
[Coke tumbling from machine]
[Cape Town, South Africa]
man: Whoo! man: Whoo!
[Buenos Aires, Argentina]
woman: Hola, Buenos Aires!
woman: Hope you enjoy your Coke!
woman: It's really nice that someone in another place in
the world will see me this moment so it's really nice.
woman: Hello, Argentina.
Here's a small gift from me. I'm Nelly from Cape Town, bye.
man: Nelly from Cape Town. [speaking Spanish]
[Coke tumbling from machine]
woman: Oh, my god.
That's so great.
[Coke tumbling from machine]
woman: Thank you very much for the Coke.
[Coke tumbling from machine]
GABOR: Disbelief, huh.
Still pretty good.
woman: [laughs]
GOVIL: I would like to not be nervous
when I practice my speech.
So today's the introduction of Project Re: Brief in the market.
This is the first time anybody outside Google and the agencies
that have been working on this will get to see what we are
doing.
We'll find out as the rubber hits the road.
[Project Re: Brief Industry Preview]
The day is actually focused on the icons.
Them coming out of retirement and inspiring the next
generation to do things that they did 50 years ago and make
ads, you know, that people will love remember and share 50 years
from now.
Silva: Everyday this questions comes up, "How is it
that digital technology is affecting story telling?"
Kay: Technology is helping to re-inspire and reinvent story
telling in ways more fundamental than the invention of the moving
image.
More importantly, technology and story telling are dependent on
one another.
GOVIL: All right.
man: I don't think I've ever felt a better sound than that
ka-clunk.
NEAL: I know.
man: We're all just, like, huh.
NEAL: It was a huge sigh of relief.
man: It was the best sound ever.
GABOR: A machine created an emotional experience.
That's seismic.
It's going to change the way things are going to be done
in the business.
It reminds me of when print went to television.
[Shortlist Sessions, Hyper Island, New York City]
DETCHMENDY: Tonight you had, you know, 75 people in a room
and they looked at this and they everyone went [gasps] because
it was--it was that magic.
DILORENZO: You felt like you were empowered to do something
and that's very different than banner ads used to be.
COOKSON: What technology has enabled has changed the whole
culture and society such that how brands work and how people
relate to them has changed fundamentally.
ROYER: You know, I'm on my computer six hours a day,
seven hours a day.
[The One Club, New York City]
There's something there that's amazing, you know, and it's not
just emails and stupid videos.
And there's things that and almost in daily basis,
blow my mind.
GOVIL: How do we start using technology, you know, to make
ads that all of us will remember 50 years from now just like
you're remembering this add from 1962.
man: I would say the Internet is more creative than TV
with advertising.
Perhaps because it's--you can take greater risks on the
Internet.
woman: It's important for us all to constantly be geeking out.
We have to all be using the tools and the things that we are
constantly talking about.
man: The web is evolving all the time.
And it's getting more and more natural how you handle it.
It's getting better in so many different ways.
[applause]
[Source Fast Company, Author Terassa Lazzi]
[Source Advertising Age]
[Source Creativity Online]
[Source Wall Street Journal]
[Source: New York Times Author: Stuart Elliot]
COOKSON: We live in this world and we can pollute it
or we can embellish it.
And advertising is everywhere and companies have a
responsibility to improve environment and certainly not to
destroy environment.
It's like the Hippocratic Oath thing, isn't it?
First, do no harm.
First, create no ugly mess.
Second, create some delight.
ROYER: I definitely believe the potential for telling great
stories is there.
I feel like we're just starting to see it.
The fact that there is so much more to do, there is so many
ways to find crazy interesting expressions for the--for the
thing you want to do.
It couldn't be a more exciting time.
PREMUTICO: The truth is probably that we're really only
at the beginning.
We're really at the beginning of change.
And to see Amil and to see Harvey, and Bob, just come to
grips and succeed in adapting to these new opportunities.
I think it is a very comforting thing for anybody else who's
working today.
RAMANATHAN: I'm hoping that this is the moment that we
shift, you know, shift the industry and our role is to help
facilitate that.
COHEN: We grew up in those days in an age of we had
control, advertising control.
And we could tell you and we could sell you, and we push the
message out.
Now, we're in this age where we're sharing.
You have to share.
GARGANO: The act of just trying to create something and
you think, "What can I do to make it better?
What can I do to make myself happy?"
And I think that's the first requirement
is to make yourself happy.
There's a good chance you'll make somebody else happy.
GREEN: I've loved it.
I haven't been doing anything for some time.
The little gray cells get very lazy and it was good for me.
It made me think again.
"We Try Harder" is somewhat the story of my life.
GABOR: What Google did was very creative.
They said, "What would happen if we marry the best of the old and
the best of the new?" No one ever did that before.