Dani Richa’s Post

2023: No.1 in the Middle East, No.9 in the world. 2024: No.1 in the Middle East, No.7 in the world.

"Perhaps often said, but creativity can’t live in the creative department. The best companies have it infused throughout, so it touches every department." Jordan Doucette, Dentsu Creative Canada's CCO and newly appointed President, speaks to LBBonline - Little Black Book about the complementary skill sets of creativity and business, and why she has a raging case of optimism for the future! 🔗 Read the full story here: https://lnkd.in/dEMBRYhE

🏦 澳洲国民银行: More than money." The entire ad revolves around the theme of "efficiency," whether it's driving a falling-apart car or chasing a house. It emphasizes the efficient utilization of every penny and every minute. This ad by TBWA perfectly fulfills the client's requirements. 😀 Advantages The overall performance in the TVC is satisfactory. It starts with a suspenseful opening: why is the driver so calm when the car is falling apart, and why Sarah is chasing a house? It sparks curiosity and engages the audience. ☹️ Disadvantages The Small Business plot is disappointing, merely using growing green plants to imply business growth, leaving viewers puzzled. This part serves as a transitional element; removing it would enhance the overall ad. 😆 Overall, it's mediocre, but TBWA\Australia's distinctive style is evident: 6.5/10.

Watched our very own Neo Mashigo, from M&C Saatchi Group South Africa on the panel yesterday. Who discussed humour in advertising and whether it should have a category of itself at Cannes. The whole panel made up of amazing talent from DDB, BBDO and The Orchard all universally agreed that humour probably shouldn’t have its own category at Cannes. But if that’s what it takes for us to start having fun again. Then it might be necessary. One of the key questions put to the panel was why do we see less humour? All the panel agreed, it is probably the hardest thing to write. Clients tend to avoid wanting to offend anyone so they prefer comedy that doesn’t go too far. Sadly sometimes this gets chipped away. Resulting in bland work. It was also put the panel why humour isn’t awarded very often in Cannes? The key take out was that international juries all have different frames of reference for humour in their respective countries. And in the jury room they need to take more time to go into this level of nuance. The panel were asked why purpose work is devoid of humour? Neo made an excellent point that a few years ago Dumb ways to die, broke the mould by being funny for purpose work. And that it is possible. Juries tend to lean more towards work that pulls at heart strings. Finally the panel were asked what their advice was for making funny work? They all agreed that making funny work is hard. It takes laser focus, especially on set. Sometimes the whole crew think a scene might be funny. But allow yourself to keep pushing harder. Allow for dialogue to change. Often a piece of ad-lib, a reaction that wasn’t originally written can be the difference between Gold or an also ran. So try to give yourself time for an accident to happen. Oh and David Kolbusz dressed as a mime artist on the panel was pretty funny. He stayed in character the whole time.

Some gems here.

When you understand that 70% of the success of a campaign comes from the creative aspect, you work with WPP. When you realize that you need to integrate creativity and tech to deliver the creativity, you work with Ogilvy One.