The public is speaking, but is anyone listening?
As we near the end of another year, Matt Charlton, CEO of Brothers & Sisters, wonders how much the public cares about the work the industry produces. Not much, he reckons, which means the industry's approach needs to change.
Like any good ad agency that cares about what actual consumers want and think, we have an ongoing research tool that listens to real people at street level and ascertains their feelings about various things going on in the world.
When we ask them about advertising the answers fall into two broad buckets.
[Some] think that advertising has become part of a forgettable, vanilla world.
Bucket 1: People who remember when ads were really important and people talked about them. They talk about everything from Levi’s to Guinness Surfer to Bud’s WhassUp to Sony Balls [below] and Cadbury’s Gorilla. They historically regarded ads as culturally important. They wonder where all these great ads have gone, and they think that advertising has become part of a forgettable, vanilla world.
Credits
powered by-
- Production Company MJZ
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Unlock full credits and more with a Source + shots membership.
Credits
powered by- Production Company MJZ
- Post Production The Mill London
- Editor Russell Icke
- Director of Photography Jim Frona
- Director of Photography Joaquin Baca-Asay
- Agency Producer Nicky Barnes
- Creative Juan Cabral
- Director Nicolai Fuglsig
- Producer Nell Jordan
- Creative Director Richard Flintham
Credits
powered by- Production Company MJZ
- Post Production The Mill London
- Editor Russell Icke
- Director of Photography Jim Frona
- Director of Photography Joaquin Baca-Asay
- Agency Producer Nicky Barnes
- Creative Juan Cabral
- Director Nicolai Fuglsig
- Producer Nell Jordan
- Creative Director Richard Flintham
Above: Older people remember ads like Sony Balls as culturally significant talking points, but are there enough of those people left?
Bucket 2: People under the age of 30, who have never really experienced a single ad that really rocked their world or that of their friends. They have the same level of expectation of a TV ad as they do a beer mat. They think ads are just empty sales vessels and, as such, either ignore or skip them, either literally or in their brain. They are way more engaged around the power of authentic social video and impartial influencers.
Advertising without massive levels of engagement is like a car with no wheels.
Neither of the buckets seem to have any real consistent interest in brand purpose or in brands trying to make the world better. They do admire Dove because it feels real and relevant, but they are seemingly not looking for this kind of thing from everyone.
People aren’t stupid, and what they observe is very fair. Advertising has drifted away from what it is supposed to be doing: creating massive levels of engagement and nudging people a bit further down the sales funnel. Advertising without massive levels of engagement is like a car with no wheels. Looks like a car but actually is full of weeds, and next door’s cat likes to sleep in it when the cat flap is closed.
Credits
powered by- Agency Ogilvy/London
- Production Company SMUGGLER
- Director Henry-Alex Rubin
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Unlock full credits and more with a Source + shots membership.
Credits
powered by- Agency Ogilvy/London
- Production Company SMUGGLER
- Director Henry-Alex Rubin
- Editorial Final Cut/New York
- Post Production Significant Others
- Post Production Coffee & TV
- Color Color Collective
- Audio Machine Sound/New York
- Music Big Sync Music/USA
- Executive Creative Director Daniel Fisher
- Chief Creative Officer Francesco Grandi
- Associate Creative Director Copy Morgan Starr
- Associate Creative Director Art Luke Woodard
- Head of Integrated Production James Brook-Partridge
- Lead Senior Film Producer Amanda Kresge
- Head of Production Chris Chapman
- Senior Designer Laurence Blake
- Co-Founder Patrick Milling-Smith
- Co-Founder Brian Carmody
- Executive Producer/Managing Director Fergus Brown
- Executive Producer Drew Santarsiero
- Line Producer Manny Caston
- 1st Assistant Director Ed Walsh
- Production Designer Justin Allen
- Wardrobe Stylist Callan Stokes
- Casting Director Gina Liotti
- DP David Devlin
- Co-Editor Ashley Kreamer
- Co-Editor Jim Helton
- Assistant Editor Chris Rizzo
- Senior Producer Wade Weliever
- Head of Production Penny Ensley
- Executive Producer Sarah Roebuck
- Managing Director Justin Brukman
- Executive Creative Director Dirk Greene
- Lead Flame Phil Apostol
- Head of Design Phil Brooks
- Senior Producer Jen Tremaglio
- Producer Kyla Amols
- Executive Producer Alyssa St Vincent
- Producer Gus Quirk
- Creative Director Steve Waugh
- CGI artist Ben Cantor
- CGI Artist Adam Lindsey
- 2D artist Jess Gorick
- Senior Colorist Alex Jimenez
- Executive Producer Claudia Guevara
- Executive Producer Matej Oreskovic
- Sound Designer & Mix Alex Bingham
- Audio Assistant Chas Langston
- Additional Music Patrick Burniston
- Music Supervisor Alexandra Carlsson Norlin
Credits
powered by- Agency Ogilvy/London
- Production Company SMUGGLER
- Director Henry-Alex Rubin
- Editorial Final Cut/New York
- Post Production Significant Others
- Post Production Coffee & TV
- Color Color Collective
- Audio Machine Sound/New York
- Music Big Sync Music/USA
- Executive Creative Director Daniel Fisher
- Chief Creative Officer Francesco Grandi
- Associate Creative Director Copy Morgan Starr
- Associate Creative Director Art Luke Woodard
- Head of Integrated Production James Brook-Partridge
- Lead Senior Film Producer Amanda Kresge
- Head of Production Chris Chapman
- Senior Designer Laurence Blake
- Co-Founder Patrick Milling-Smith
- Co-Founder Brian Carmody
- Executive Producer/Managing Director Fergus Brown
- Executive Producer Drew Santarsiero
- Line Producer Manny Caston
- 1st Assistant Director Ed Walsh
- Production Designer Justin Allen
- Wardrobe Stylist Callan Stokes
- Casting Director Gina Liotti
- DP David Devlin
- Co-Editor Ashley Kreamer
- Co-Editor Jim Helton
- Assistant Editor Chris Rizzo
- Senior Producer Wade Weliever
- Head of Production Penny Ensley
- Executive Producer Sarah Roebuck
- Managing Director Justin Brukman
- Executive Creative Director Dirk Greene
- Lead Flame Phil Apostol
- Head of Design Phil Brooks
- Senior Producer Jen Tremaglio
- Producer Kyla Amols
- Executive Producer Alyssa St Vincent
- Producer Gus Quirk
- Creative Director Steve Waugh
- CGI artist Ben Cantor
- CGI Artist Adam Lindsey
- 2D artist Jess Gorick
- Senior Colorist Alex Jimenez
- Executive Producer Claudia Guevara
- Executive Producer Matej Oreskovic
- Sound Designer & Mix Alex Bingham
- Audio Assistant Chas Langston
- Additional Music Patrick Burniston
- Music Supervisor Alexandra Carlsson Norlin
Above: Dove aside, many people seem not to have any real interest in brand purpose, or in brands trying to make the world better.
So as we reflect on 2023, are we moving back in the right direction? I think there are green shoots.
The first big shift that’s starting to happen, and will grow into 2024, is advertising rediscovering its social purpose. Driven by some pretty miserable times, our real purpose is to cheer up, lift up and give people an immediate hit of something that makes them feel positive about life. We’re like a billion dollar festive socks industry. Even though I know the Rolling Stones Happy Socks my sister-in-law gave me last year clash with every item I wear, as I glance down in meetings, there’s something fun and engaging about seeing the Stones tongue logo poking out.
Attention levels to what we create have never been lower.
We‘ve started to see a few Christmas sock versions of ad campaigns emerge this year, by which I mean those which have proved remarkably popular with real people. The public have enjoyed waggling eyebrows from McDonalds [above], and my own We Buy Any Car ad seemingly got a chunk of the nation dancing outside their cars - or complaining they can’t get the tune out of their heads.
It’s good timing, too. Attention levels to what we create have never been lower. If you buy a 30 second TV ad you get, on average, 11 seconds before the viewer’s attention has gone. 74% of viewers pick up their phones when the TV ads come on, probably to get stuck in an endless scroll on TikTok that they are still on an hour later. And the majority of young people find it easier to express their feelings through emojis.
Credits
powered by- Agency Leo Burnett/London
- Production Company Moxie Pictures/London
- Director Edgar Wright
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Unlock full credits and more with a Source + shots membership.
Credits
powered by- Agency Leo Burnett/London
- Production Company Moxie Pictures/London
- Director Edgar Wright
- Sound 750mph
- Casting ET Casting
- Media Agency OMD/London
- Production Company Moxie Pictures/London
- Editor Final Cut/London
- Post-Production Company Framestore/London
- Audio Post Production 750mph
- Photography and Motion Production Prodigious London
- Media Agency OMD/London
- Editor Final Cut/London
- Post-Production Company Framestore/London
- Audio Post Production 750mph
- Photography and Motion Production Prodigious London
- Managing Director Dawn Laren
- Producer Doochy Moult
- Art Director Andrew Long
- Creative Gareth Butters
- Executive Producer Dawn Laren
- DP Jake Polonsky
- Production Designer Marcus Rowland
- Editor David Webb
- Editor Suzy Davis
- Production Manager Carmen Griffiths
- Chief Creative Officer Chaka Sobhani
- Executive Creative Director Mark Elwood
- Creative Director James Millers
- Creative Director: Andrew Long
- Senior Creative / Copywriter Gareth Butters
- Art Director Joe Miller
- Creative Director of Design David Allen
- Designer Jakk Breedon
- Head of Planning Tom Sussman
- Head of Account Management Sam Houlston
- Head of Project Management Jamie Teale
- Head of McDonalds TV Production Graeme Light
- Flame Darran Nicholson
- Producer Alexia Paterson
- Audio Mixer Sam Ashwell
- Head of Art Production Joseph Hodges
- Photographer Tom van Schelven
- Colorist Steffan Perry
Credits
powered by- Agency Leo Burnett/London
- Production Company Moxie Pictures/London
- Director Edgar Wright
- Sound 750mph
- Casting ET Casting
- Media Agency OMD/London
- Production Company Moxie Pictures/London
- Editor Final Cut/London
- Post-Production Company Framestore/London
- Audio Post Production 750mph
- Photography and Motion Production Prodigious London
- Media Agency OMD/London
- Editor Final Cut/London
- Post-Production Company Framestore/London
- Audio Post Production 750mph
- Photography and Motion Production Prodigious London
- Managing Director Dawn Laren
- Producer Doochy Moult
- Art Director Andrew Long
- Creative Gareth Butters
- Executive Producer Dawn Laren
- DP Jake Polonsky
- Production Designer Marcus Rowland
- Editor David Webb
- Editor Suzy Davis
- Production Manager Carmen Griffiths
- Chief Creative Officer Chaka Sobhani
- Executive Creative Director Mark Elwood
- Creative Director James Millers
- Creative Director: Andrew Long
- Senior Creative / Copywriter Gareth Butters
- Art Director Joe Miller
- Creative Director of Design David Allen
- Designer Jakk Breedon
- Head of Planning Tom Sussman
- Head of Account Management Sam Houlston
- Head of Project Management Jamie Teale
- Head of McDonalds TV Production Graeme Light
- Flame Darran Nicholson
- Producer Alexia Paterson
- Audio Mixer Sam Ashwell
- Head of Art Production Joseph Hodges
- Photographer Tom van Schelven
- Colorist Steffan Perry
Above: Edgar Wright's McDonald's spot is proof that the public still enjoy some advertising.
It is a world totally dominated by speed and entertainment. So, good luck waiting until the 27th second of your ad for the great rug pull. You might get away with it, but you are going to need to pull a carpet-sized rug with the velocity of Max Verstappen chasing a shoplifter in his Red Bull car.
All of this means there is a big trade off to make for agency creatives. You can’t write work for yourself. You can’t hide in Shoreditch or Soho. You can’t fake it. You’ve got to love and respect what people really love and respect.
You can’t write work for yourself. You can’t hide in Shoreditch or Soho. You can’t fake it.
None of the most popular movies win an Oscar, the readers of the Radio Times voted Mrs Brown’s Boys Best Sitcom of the Century. Harry Styles, discovered on a reality TV show and formerly in a boy band, is our biggest pop star. And over 30% of all videos on TikTok are dancing ones.
This is where we’re at as we roll into 2024. So, take note if you want to be successful in it.