Adoi Malaysia 2002 April Issue

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APRIL2002 REGIONAL PUBLISHER Harmandar Singh aka Ham

EDITOR-IN-CHIEF TSivananthi

STAFF WRITERS Kelvin Wee Rodney Louis Vincent

DESIGNER Eric Chun

AD SALES MANAGER Fauzia Sultan Mobile: 016-337 5155 E-mail: fauzia_sm@hotmail.com

OFFICIAL PHOTOGRAPHER Jen Siow/ Jen Studio

PRINTER Far East Digital Prints

COLOR SEPARATOR Far East Offset & Engraving

DISTRIBUTION Efficient Lettershop & Data Print

HOUSE FONTS: FF EUREKA & FF FAGO CONDENSED alt.lYPE. 32 Pekin Street, #03- 01 Far East Square, Singapore 048762.

aDOl magazine is published every month by Sledgehammer Communications (M) Sdn Bhd 228, Jalan Tun Mohd Fuad 1, Taman Tun Dr. Ismail, 6oooo Kuala Lumpur, Malaysia Tel: +603 7726 2588 Fax: +603 7726 2598, 7722 5712

Notes From The Editor MERGERS and acquisitions are the order of the day in today's business environment. This is no different in the world of advertising. In recent years, many mergers have taken place resulting in the formation of mega groups with vast networks spanning the globe.

The current 'slowdown' in most markets has been buffered with 'groups' holding their own through strength in numbers.

Recently, France's Publicis Groupe paid US$3 billion in a friendly merger with the privately held, U.S.-based Bcom3 Group creating the world's fourthlargest advertising holding and giving birth to a longterm strategic partnership with Japan's Dentsu, which will be a key minority shareholder in the new group. The new Publicis will report about US$4 billion in revenues, raised from 38,ooo employees worldwide, placing it just ahead of Dentsu on the Advertising Age global rartking tables. The holding will rank first in Europe, third in the U.S. and have a leading position in Asia, due to its links with Dentsu, which are expected to grow considerably over the coming decade.

The merger will group four top advertising agencies, Publicis-owned Publicis and Saatchi & Saatchi, and Bcom3-owned Leo Burnett Worldwide and D'Arcy Maisus Benton & Bowles, under one holding, as well as create the world's second-largest media consultancy and buying group, through its interests in Publicisowned Zenith Optimedia Group and Bcom3 owned Starcom MediaVest.

Under terms of the merger agreement unveiled in Paris, Publicis will acquire roo% of Bcom3, for US$3 billion in stock and equity-linked securities. Dentsu, which holds a 22% stake in Bcom3, will pay about US$1 billion in cash for additional shares in the Chicagobased holding, which it will then convert to shares controlling 15% of voting rights in the new Publicis.

With this move, Dentsu moves on to become a force to be reckoned with on the global scene.

On the other end of the pendulum, the question hanging in the minds of industry people is whether or not Dentsu can be affiliated (or wants to stay affiliated) to the WPP Group via Dentsu Young and Rubicam in some parts of the world and to Publicis in others.

In KL, The Sun decided to hot up the media scene by announcing that it will become a free newspaper.

Down in Singapore, the concept has caught on like fire and there are two free newspapers - Today and Streats, The Sun will be published from Monday to Saturday and who knows? This new strategy might bring on the sunny times for the newspaper!

Respectfully,

aDOI What's hot in this issue. •• Highlights

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life After Advertising AWorkaholic's Sabbatical See You In Court!

The Strategic Planning Function in Communication

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28 38 40

Interactive Communication Breakdown

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Direct Marketing Abolishing Above-The-line Member of

Audit Burfau of Cirwlatlons

0 All righ ts r ese rve d by Sl edgeh a mm er Communications (M) Sdn . Bhd. No part of this ~agazine may be reproduced in any form without prior permission in writing from the p ubl isher. While every effort has been made to .ensure the accuracy of the information in this publication, the publish er and the editor assume no responsibility for errors or omissions or for any consequences of reliance of information in this publication. The opinions expressed in this publication do not necessarily repr esent the views of the publisher or editor. Advertisemen ts are the sole responsibility of the advertisers.

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Features/Reviews Dentsu Pours Some Sake For The World Asia Pacific Advertising Festival Asian Ads Hot Up! Burning Issue BBDO's War Cry New York! New York!

18 19

28 34 40 42

Exclusive Interviews Campaign Showcase: LoweTies Up Behaviour and Banking Anlene Muscles Up Milk Timeless Writing Talking Business with Stephen Fraser

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32 33

aDOI MARKETINGCOMMUNICATIONS 3

TM and Š2002 Apple Computl!1; Inc. All rigbts resen,ed *Not included

Visit www.asia.apple.com for more information.

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has leeve. ing Tony Fernandes d make an exciting cover story .••

CoverStory

â&#x20AC;˘ You were from the music industry. Tell us a little about that.

I'm actually an accountant by training (Ed. Well he definitely redefines the profession!) I joined Virgin after I qualified as an accountant and from Virgin I moved onto Warner. I initially joined as an accountant in the finance department. And then I was given the big break from the Chairman who noticed that I had more interesting ideas than just finance. He offered me a marketing position as the GM of Warner

Warner. What made me do it? I) I love the business. 2) I wanted to be my own boss and 3) There was a business opportunity in Malaysia for the product we're bringing in.

Which is Air Asia...

What are sales like? You had quite a queue outside your sales counter ...

When we launched, we weren't ready for the low fares but we wanted to show the government what we could do at Subang- we always knew we had to move but we had to t'ry and make the case for the benefit of the consumers. Overall we're at 8o% load factor which is very encouraging. A lot of people have had difficulty getting through to us because the demand has been great and our infrastructure hasn't been ready. By April most of these glitches will be ironed out. We will be having a new 30-seat call centre and our internet booking agency should be ready by mid-April.

Yes, the low-frills airline that we're bringing as a cost concept. A bit like Southwest Airlines, Ryan Air and Easy Jet. Malaysians are very price conscious. But basically, I think __....,. there's always an opportunity for - - - - - ----a business which is --~-..r value-based ____..-::::

These would help reduce your costs further

a n d that's the opportunity that we've seized.

Music in Malaysia which was a fantastic opportunity because I was 27 at that time. So I didn't even negotiate a salary - I just packed my bags and I came out here. The agreement was that after 5 or 6 years, I'd be made the Managing Director. But after 6 months, they gave me the job. So it was fantastic - I was 27, I was the MD of Warner Music Malaysia and life was unbelievable.

How did you get the passion for flying? Not everybody goes and buys an airline ...

I don't fly. I got into aviation basically because I loved planes. My three loves in life were sports, music and planes. I did a lot of sport when I was young and I wanted to be a professional sportsman. But I realised I wasn't quite good enough and went into music. I really wanted to be in the music business and I stayed there for 12 years. Then I wanted to start my own business and it wasn't a good time to start something in the music industry because of piracy and copyright issues. So I decided to look into the aviation business and got into it. I was basically driven by the desire to be my own boss - and I tried to find what was available to run. But you're never really your own boss - you're still answerable to shareholders and banks but there are fewer hierarchies than there were at AOL Time

Textbooks would commonly say that price is not really a great differentiating factor to start off with ...

It depends where you position your brand and how you position it. I definitely think that price is an issue but there are many gradients of price. It also depends on what market you're in and we're targeting a market that is price sensitive. If you're selling a firstclass product, people who fly first class are less worried about price and are more worried about the service factor. But even with branded goods you might notice that people are price-conscious - the Japanese will come to Hong Kong to buy it because there is a price differential.

Your position is obviously helped by the fact that our society is moving from a paradigm of travel as a luxury to travel as a necessity ...

I think we're going to accelerate that. Only 6% of Malaysians fly according to ACNielsen a shortfall of 3%. Flying is seen as a purveyor of the rich but we're going to bring democracy and freedom to that. We're busting that open and as our tagline goes 'Now everyone can fly'.

Look at it - it's RM6o to Penang - most people can afford that. And the goal is to bring more affordability to flying and to break the perception that you have to be rich to fly.

right ...

It would. Our goal is to keep reducing our prices and not to keep them where they are.

There's talk in town that you're going to paint your planes with ads ...

Yes, we are looking at turning our planes into a billboards. We won't be doing it with every plane -perhaps with one out of the five . It's done on trains and buses but we're going to break the mould by doing it on planes. This is a massive opportunity for a client and it's all about how laterally they can st_retch their mind.

And us going to KLIA enhances the ability to spread the message and create a big impact. But we will not only be selling space outside but also the space inside the aircraft. So when you open a table or sample food or do competitions or play games there will be a good chance that those will be avenues for marketing communications to take place. Plus there can even be announcements made by the crew.

Will you be introducing any other innovations?

Price is not our only driving factor. We do have a brand and our brand is Air Asia we have a little bit of Easy Jet, Southwest, Ryan Air and Virgin in our brand. I think if you create a brand that has some value, you can sell merchandise around it which also enhances your image. If you're cheap and if people have a little bit of fun

ilnfll MARIC~INr.rnMMmllrllnnuc

7

CoverStory

It is big, the fuselage is at least 1ooft by 30ft. It is a medium that will excite and challenge our art directors. It will be the first in Malaysia, first in Asia and it will answer the most basic question in advertising it will be NOTICED. on your flight, they want to be associated with you. We will also be doing things associated with music and advertising to enhance the value of our brand. We'll be very closely associated with music- we're sponsoring the AIM and we'll be involved in the MTV Music Awards. The Air Asia brand will be very closely linked with the entertainment world and this will connect well with our merchandising plans. Hard Rock probably makes more money out of its merchandise than it does selling food. This is one way to keep our fares low- through the money we make out of advertising and merchandising.

If Air Asia was a personality who would it be?

Approachable, down-to-earth, lot of fun to be with, humble, hard-working. Madonna would be a great personality to describe Air Asia- she's smart, she's creative, she's always setting new trends, she's down-to-earth and she'll always push the boundaries. And hopefully we'll be as successful as she is. As a mother of two, she's still seen as a pop icon. So we want to be fresh as well.

Are you trying to be the Richard Branson of

Southeast Asia?

No I'm not. I'm doing the reverse- Branson owned a record company and started an airline. One day, I hope to own a record company.

It's purely coincidental - I love music and I love planes. Maybe Richard Branson felt the same. I don't know. I am who I am and I'm definitely a hands-on person, I'm not as flamboy-

ant as him and I never will be. I've always wanted to own an airline even when I was a boy. I told my parents that. Everyone, of course, laughs at you when you say things like that and even you begin to wonder whether it's possible .. .

hard for the advertiser. Airplane advertising is a medium and an event at the same time. It's a visual feast that is mobile. It should be integrated into the marketing plan, and perhaps be the brand 'road show' for critical territories.

The medium can work for the brave advertiser out to make a big brand.

Was it like destiny calling or was it a subconscious desire manifesting itself?

I would deem myself an incredibly lucky What will be some of the advantages to using person. I've had a fairly great life. When I was the airplane as a media?

It is big, the fuselage is at least moft by younger, I wanted to play competitive sport and I did a little of that. And then I really 30ft. It is a medium that will excite and chalwanted to be in the music business and that's lenge our art directors. It will be the first in where I ended up. It was always in the back of Malaysia, first in Asia and it will answer the my mind that I wanted to own an airline ... I most basic question in advertising - it will be guess the main thing is where there is a will NOTICED. there is a way. I'm never daunted by anything and I will always give it my best. And I've Will it provide the opportunity to co-brand Air always believed that we as Malaysians are as . Asia with others who share similar values? good as anyone else and we can emulate anyAbsolutely, AirAsia will be the embodiment thing and do things better. For example, I thi- of a new wave in Malaysia. AirAsia will have to nk the ads in Malaysia are as good as anywhere work on a business formula that is very discielse in the world and when they say we have to plined and very focussed on keeping costs low. help them a little - I don't believe that. You The changes that we will bring will appeal to need a local feeling and a local touch - an all progressive minded Malaysians. Low fares Englishman couldn't feel the same things a and distribution via the Internet are two of Malaysian does. I don't believe we need to pro- the things that will be very positive for the ktect the industry. I simply don't believe that. I economy. Invariably these changes will appeal believe that we have enough talent, enough to all early adopters. Low fares, however, do spirit and enough strength to become competi- not discriminate, low fares will make air tive enough. If Ryan Air comes in to operate in transport affordable and will literally democthis market -let them. It's good for the econo- ratise flying. Potential advertisers who want to rejuvenate or reposition a brand can benefit my and it will make us better. from the co-branding.

TO GET a better picture of the marketing opportunities with Air Asia, we decided to also talk to Hew Yoon Loong, Chief Marketing Officer at Air Asia (who incidentally is an exadman and from a fmcg marketing background) .. .

You've come up with the idea to paint the airplanes and use it as a medium. How will this work?

Media can get very stale, most of the mainstream media have been around for years.

Why not paint an airplane? It can look wonderful, Southwest in the US painted one of their planes as Shamu the killer whale! We are on an aggressive plane delivery plan and have about 3 more planes coming in this year and we can paint them in the most stunning manner.

Will it be expensive? How effective will it be?

Will it work?

It will not be cheap, and getting good value for this will depend on how innovative the marketer is. Airplane advertising should not be bought for its quantitative merits. It shouldn't be regarded as a mere replacement for a giant billboard. Billboards do not fly. It should be evaluated qualitatively, the key question being how can this media be made to work

Hew and Tony

Never underestimate the power of unconventional advertising (just as The Mirror didn't underestimate the winning boxer).

But why are we at TIME, of all brands, extolling the virtues of guerilla advertising to you? Offering creative ad packages is one of the reasons why advertisers have kept TIME number one in the marketplace. And why market share has increased to 18.1% (the highest in ten years).* Contact us today and we'll show you how to get your brand out of the corner fighting. *CMR International 2001

¡O UR --http://mediakit. timeasia.com

TIME ~

I

News Briefs: M'sia •

CLEAR CHANNEL APPOINTS NEW MD IN MAlAYSIA

letters to the Editor

Eon Bank intends to expand its customer base of credit card holders to 30o,ooo by August next year from the present rate of <)0,000. At the same time, the bank announced that its 5-year advertising and promotional budget up to 2005 stood at RM 8 million.

Dear Editor, My apology for taking so long to say thank you for your article on my 'liberation'. When I agreed to my father's request, I really didn't know what I was getting into. There is so much to be done. I actually work longer hours than when I was with Spider D'Arcy. Creatively it is fun- conceptualising and designing the museum. Half the fun is robbed by politics - something I'm not familiar with.

Nevertheless I'm determined to establish the museum to be one of the best in this region. I hope the day will come when people will want to visit Penang because they want to see the museum and not when they are already in Penang to visit the museum as another tourist spot.

I need a lot of help and support from friends like you. It's quite cold and lonely out there. Once again many thanks. Till we meet, take care.

•

As ever,

Clear Channel, the world's leading out-of-home media company, recently announced the appointment of Ruslan Zakaria as the new Managing Director for its Malaysian business, NST Outdoor Sdn. Bhd. Ruslan, who is currently Clear Channel International's Development Director for South East Asia, will continue in his present role as well as taking over responsibility for the Malaysian business operation as a whole.

•

EON BANK TARGETS 300,000 CARD HOLDERS

Dear Editor, I'm heartened to see Weng Keong of Arachnid on your cover. It is always nice to read the stories of entrepreneurs who branch out on their own and make a difference in the industry. Sometimes when I read ADOI, I get the feeling that you cover a lot of news from the MNC agencies. I personally don't have anything against them and some of them are doing terrific work. But there are also a lot of small, local set-ups in Malaysia and sometimes it seems that we don't get much coverage.

Small agencies also produce good work and create ripples for example SilAd, GanForHire, Spencer Azizul etc. Small agencies have very different concerns and we are hit in a different way by issues that crop up. I hope you can feature more stories . on the so-called 'little people' of the industry!

Sincerely,

GUINNESS' NET PROFITS DOWN BY 36.2%

Guinness Anchor Bhd registered a net profit of RM32.2 million for the half-year ending December 31, 2001, down by 36.2% from RM50.5 million a year ago. These results reflect the highly competitive beer market and soft demand for beer and stout.

•

CARAT MAlAYSIA'S NEW MEDIA PlANNING TOOL

Yeap Tan Lim Chairman, Dr. Sun Yat-Sen Museum Research Centre

Lee C.H, Batu Ferringhi, Penang.

(Ed. It would be great to have news from the small agencies! Do send them to us!)

Upcoming Events

19 to 20 April ntv?'s Media Skills Workshop by media gurus- D. Sriram and Vishnu Mohan. Eastin Hotel.

Carat Fortuna is the new media planning tool at Carat which optimises television-based plans.

The analysis takes into account both the traditionally-used TV ratings (gross rating points or GRPs) and also qualified rating points which are based on three factors - affinity (how much time the target audience spends watching the programme). loyalty (the amount of time they watch it continuously) and zapping (how many times an individual moves in and out of the programme). Carat Asia-Pacific will be focussing on enhancing proprietary tools and service delivery rather than expansion.

We invite organizers of events· for the advertising and marketing industry to submit information for publication in this monthly Upcoming Events column. Publication of information is based on availability of space, preference will be given to events taking place closest to the date of publication.

•

Recent Accounts Won & lost

TMTOUCH TO BREAK EVEN SOON

TMTouch will probably break even as it achieves its targetted 240,000 prepaid subscribers as early as the third quarter of this year. TM Touch's second-half sales growth notched up RM26o million on some 200,000 new subscribers. The company has 1.21 million subscribers as of December last year. Telekom Malaysia's cellular unit has been reporting losses for the past three years.

•

BAT PlANS NEW MARKET STRATEGY

BAT is rolling out plans to capture new market segments and is looking to regain lost market share in the value brand segment. The company has made changes to the blend of its Perilly's cigarettes and re-launched the brand last month in a bid to attract a new market. Perilly's, which target the rural areas, market share dropped a little last year. The re-launch of Kent last year proved to be a success as the younger target segment helped grow the market share for the brand. Pall Mall has also been repackaged to take on L&M and Winston. At the same time BAT has invested more than RM4o million in its KL IT hub which will service all the 18o countries BAT has a presence in.

1n riMI

MARKETINGCOMMUNICATIONS

22April Ambient Media Talk by Ron Graham. KLGCC. FMI: 7122 5110

26 to 7f April IdN Fresh Conference 2002 at the Singapore EXPO Hall. FMI: (65) 846 0934

Agency

Account Won

CIA Hong Kong

Delifrance ICBC Credit Cards Mercedes Benz Hong Kong

CIA Media Innovation Thailand

Est. Billings

Tylenol

CIA International (Association of Asia Pacific Airlines)

AAPA

S$2.5 million (approx.)

BBDO

Quaker

RMr.5 million

Lowe

Kapal Api Coffee Mitsubishi Airtrek Olympus Cameras

OMD

Allianz (Regional)

Leo Burnett

Nirvana Memorial Park

Publicis

Singer

S$18 million

do your brands sproutlegsonli~e?

~

www.arachnidcom.my

NEWS BRIEFS: ASIA RANJAN KAPUR is VICE-CHAIRMAN O&M AP

•

Miles Young, Chairman of Ogilvy & Mather Asia Pacific, recently announced the expansion of Ranjan Kapur's role to Vice-Chairman of O&M Asia Pacific. Ranjan, currently Executive

life after Advertising

Chairman of O&M in India, will retain that role.

•

By Dean johns

DRAFT GOES DOWN UNDER

DraftWorldwide has expanded to Australia with the appointment of Shelley (rocket as General Manager of DraftWorldwide Australia. Shelley and her team will be based in Sydney, and will work closely with The Lowe Group and with Draft's local affiliate, Creative Sales Marketing.

•

NEWSWEEK'S CHINESE HEALTH ISSUE

Newsweek has published a special issue in China.

The Chinese language edition of Newsweek's "Health for Life: Living Longer, Living Better" special issue, distributed both on the Chinese mainland and in Hong Kong and Taiwan hit newsstands recently.

There are two versions of this special issue one in simplified Chinese characters and the other in traditional Chinese characters. The first is distributed on the Chinese mainland with an initial circulation of 25o,ooo copies. The traditional version is distributed in Hong Kong, Taiwan, Singapore with an initial circulation of so,ooo. ING Antai is the main sponsor for this stand-alone issue.

•

LOWE TAKES ON ZUELLIG'S REGIONAL BUSINESS

Lowe Worldwide won a regional corporate rebranding assignment from Pan Asian insurance brokers The Zuellig Insurance Group. The rebranding will be handled out of Singapore, across key markets: Singapore, Malaysia, Thailand, Hong Kong, Indonesia and the Philippines.

•

KIDS' CHANNEL ON TOKYO TRAINS

TV channel Nickelodeon has gone mobile on Tokyo's Odakyu trains through a special partnership with Nokia. More than 360 minutes of ani'mated programs and game shows, like Rugrats, The Wild Thornberrys, Rocket Power, and Global Guts will be screened on Odakyu trains in Tokyo via Nokia's experimental IPv6 (Internet Protocol Version 6) system.

•

OGILVYONE ASIA SHINES AT CAPLES AWARDS

OgilvyOne AP has triumphed at this year's John Caples International Awards, as the only winner in the region to take home honours from what is considered to be the 'Oscars' of direct marketing.

OgilvyOne offices in Hong Kong, Singapore, Malaysia and Thailand claimed a total of six awards for campaigns that were recognized both for their exceptional creativity as well as effective marketing techniques.

'~

;:!nfll MARKFTINC.COMMUNICATIONS

"WHEN the economy catches a cold", as the old cliche goes, "advertising gets pneumonia".

So in times as chilling as those we've weathered recently, or that some of us are still suffering, there are bound to be casualties. Despite many agencies' claims to immunity against economic ills, all sooner or later succumb to reality and shed sickening numbers of staff.

Then the epidemic spreads to suppliers and freelancers, first devastating their incomes and eventually decimating their numbers. Of course many of these victims eventually nurse their careers back to health. Most of us in this business are nothing if not survivors, after all. Living testament to the truth of Nietzsche's old line "what doesn't kill us makes us stronger", and sustained by the belief that if only we can hang on long enough, the next boom time will restore us to fiscal health with massive injections of cash.

There are those, however, who haven't the patience to hang around feeling like patients.

Some are sick of it all in any case, and see the latest downer as a heaven-sent incentive to for once and for all get advertising out of their systems. And they seem to thrive on the change. One former art director colleague is now happily and profitably renovating houses. And recently I ran into a guy, a copywriter the last time I saw him, who now runs an adventure tour outfit in South America. Of course not all such reincarnations are recessionled. Some happy souls don't need economic adversity to cure them of advertising. They've either had enough, or made enough, to be inspired to pursue new dreams. Novel dreams too, some of them, like world-renowned excopywriter Salman Rushdie, onetime adman extraordinaire and now Australia's all-time best-selling author Bryce Courtenay, and the much-awarded literary figure Peter Carey.

Then there's Ken Done, the former artbased creative director who did so nicely out of advertising he left it all to "do a bit of painting". In the fifteen or twenty years since, his

Some happy souls don't need economic adversity to cure them of advertising. visual images of Australia on everything from coffee mugs to clothing have proven so popular as to make him rich beyond the dreams of either advertising or avarice. Some former suits have created nice new careers for themselves too. My old buddy Lindey Milan, formerly just a humble account manager with a larger-than-life personality, left advertising to start her own catering business. Soon she was co-hosting a cooking program on radio, and today she's a very big cheese indeed, with a household name in cookery books and broadcasting, plus the plum job of food editor with Australian Womens Weekly Magazine.

So, as tragic as the prospect of leaving advertising can seem, especially for those of us with no taste or apparent talent for anything else, it's not the end of the world. If times get so tough that the business can't afford us any more, or vice versa, let's remember there's life after advertising, and that discovering it can be a decided advantage.

Dean johns is a partner in the regional creative hotshop CreAsia and strategic consultancy StrADegy.

Email stradegy@optushome.com.au

NEWS BRIEFS: WORLD

AD #1 FREE CLASS IFl EDS

E-mail your ret ruitment messages

•

Francois Verglas, most recently Senior Vice President, was named Managing Director of Newsweek International. This followed the retirement of Peter Luffman who had been President for a decade. Francois will be responsible for running all day-to-day business operations .

•

DENTSU ON GLOBAL STAGE

Dentsu Inc. has formed a strategic global alliance with France's newly formed The Publicis Groupe.

Dentsu acquired rs% of the total shares. Publicis recently bought up BCom3.

•

HEAD OF OGILVY U.K LEAVES

Paul Simons, the chairman and CEO of Ogilvy Group U.K. has left the WPP Group-owned network following disagreements with the regional and worldwide management about the U.K. group's strategy and performance.

•

DDB WORLDWIDE PRESIDENT RESIGNS

Jake Schroepfer, 48, resigned as president and chief executive at the Dallas office of DDB Worldwide.

His duties will b handled by Janet Bustin who becomes MD and Steve Sweitzer who joins as ECD.

•

lBWA SCOOPS HAAGEN-DAZS ACCOUNT

General Mills has awarded its estimated $44 million international advertising account for HaagenDazs to TBWA Worldwide.

•

RUSSIAN ADMAN GETS 7 YEARS IN PRISON

Alexander Babayan, the co-owner and CEO of Metros-Media agency, has been sentenced to seven years in prison on charges of extortion by the Moscow Meschansky municipal court. MetrosMedia is responsible for selling advertising space in Moscow's subway. The case will have done nothing for the already shady reputation of Russia's outdoor media industry which is only just recovering from the shocking murder last month of Vladimir Kanevsky, the head of the country's second biggest outdoor media outfit, Ator.

•

BMP DDB WINS U.K. GLOBAL TOURISM ACCOUNT

The British Tourist Authority has handed a $35 million international advertising account to BMP DDB, London. The campaign is part of a total Ss6 million global push by BTA and a coalition of tourist industry organizations to jumpstart tourism to the U.K.

•

BBDO'S DUSENBERRY STEPS DOWN

After 40 years in advertising, BBDO chairman Phil Dusenberry is retiring at the end of May, a month after he turns 66. Dusenberry, one of the most acclaimed creatives in the industry, will turn over full responsibility for BBDO's worldwide creative product to Ted Sann, vice chairman, chief creative officer of North America and New York.

•

DREXLER NAMED OPTIMEDIA CEO

Media veteran Mike Drexler has been named the new chief executive of Publicis Groupe's second media network Optimedia USA. He succeeds Gene DeWitt, who announced he was leaving his position.

14

(30

words) to sivananthi_t@hotrnail.tom and they will be read by over

30,000

readers

FRANCOIS VERGIAS HEADS NEWSWEEK

aOOJ MARKETINGCOMMUNICATIONS

Make their mouths water! Enhance your food commercials and presentations with delicious and tempting food. Contact Peggy's Bake and Cook for FOOD STYLING and MOCK UPS. Tel. 03- 79823478.

Positive Tone, a record label in Malaysia offers INTERNSHIP PROGRAMMES for -Young, Ener-getic and Curious individuals with a passion for music and wants to know how the fast moving Record Industry works. For more information email kim@positivetone.com.my Do you have the Magic Touch? Small agency needs a Mac-savvy SENIOR DESIGNER with packaging, print and publication experience. Must know Illustrator, Photoshop, Quark Xpress and Page Maker. E-mail your resume to amy@poweredbymagic.com Passionate Team wanted for Lowe KL. JUNIOR-MIDDLE WEIGHT. For more information please call Chris Howden 03- 2562653 or email zchris.howden@loweworldwide.com.

A retrenchment-free, accredited agency is looking for ART DIRECTOR and WRITER with 4 years' art direction and 2 years' copywriting respectively in FMCG accounts.

Please email your resume to info@one-ap.com.my or fax to 03-8o24 8325.

A WRITER who can actually write with years of mainstream advertising experience available on retainer, project or job basis. Call 0!9-316 2466.

I'm Abbie Hiew, a FRESH GRADUATE with Advanced Diploma in Mass Communication. I'm seeking a job related to event management, TV production, advertising or publishing industry. Contact: 012-365 1429 (KL).

A YOUNG DESIGNER was born on 2rjr2jor. She's brilliant & creative. She was conceived at OACD and was awarded with a Diploma in Advertising & Graphic Design. Call Karen or&-2797520.

Attention ART DIRECTORS! If you are insightful, able to imagine big huge ideas and create creative with an impact that put tears in your mum's eyes, please call Rose. Tel. 03 2164 2020.

Try controlling us! Interface Advertising needs a strict disciplinarian to help us monitor and coordinate our Creative workloads. Experienced TRAFFIC CONTROLLERS, call Maureen at 03- 2296 36oo to apply.

1001.01, 1010.11, 1100.01, IIOr.oo ..... Can you help us with numbers? Interface Advertising is looking for an ACCOUNTS ASSISTANT, with at least 2 years working experience. Call 22¢ 36oo to talk numbers with Julie.

Advertising Agency looking for bright and 'gung-ho' ADVERTISING and MARKETING EXECUTIVE. Please fax your resume to 6o3-7726 41150r send it to buzzcr@tm.net.my.

We are looking for CORPORATE SALES MANAGERS and APPLICATION DEVELOPERS. Please send your application to sywong@3ntity.com. For more info, please surfwww.3ntity.com Ever thought of working with a great agency? Well, here's your chance ... We urgently require r. ACCOUNT EXECUTIVE/MANAGER: 3 years ad experience & with a driving license. 2. COPYWRITER: Ability to conceptualise, translate & a lingo master. 3· PERSONAL ASSISTANT: 2 years secretarial expertise, preferably from agency background. 4· ART DIRECTOR: Mac wizard with 3 years experience in Quark, Photoshop &Illustrator. Fax resumes to 03-6203 3866 or e-mail us: suanaz@tm.net.my

MARKETING COORDINATOR. Are you a person with initiative, are objectives driven, meticulous, enjoy dealing with clients, experienced in similar marketing/advertising company roles? Call DBM at 21612668 for a chat.

MEDIA MANAGER and PLANNER required. At least 23 years experience in similar capacity. Independent and articulate. Proficient in ACNielsen and other application software. Please send resume to david@dikm.com.my.

Optidigit urgently seeks an ASSISTANT PRODUCER. Fresh graduates are welcome. Interested? Call Carolynn at 6203 1190 or email your resume to admin@optidigit.com

ADMIN ASSISTANT wanted based on a contract basis.

Please e-mail Mary at m.soh@research-int.com or call 03-2718 8!47· Looking for PART-TIME DATA-ENTRY personnel.

Please e-mail Soon at tk.soon@researchint.com or call 03-2718 8!46.

Ten On Ten Pictures Sdn.Bhd. is seeking the services of a dynamic strategic minded MARKETING & PROMOTIONS MANAGER who understands profile, positioning, branding and sponsorship within the Malaysian media industry. Please forward all applications and registration of interest to: tenonten@po.jaring.my, or 03 4251 6n5/ 03 4252 6115.

SOV, OTS, TARPS. Part of your daily vocabulary? We want you! MEDIA PLANNER needed with minimum 3 years experience and excellent analytical skills. Interested? For more information please call 03-2282 4268 or e-mail rajazul@novacomm.cc A leading international Public Relations agency in Kuala Lumpur is looking for JUNIOR SECRETARY. Fax your C.V. to 03-2710 6¢6 or e-mail: shamala.rajasingam@ogilvy.com Teaktree House Sdn Bhd, No 49 ]alan Penchala, 46o5o PJ (Old Town) experts in teakwood furniture, lighting, flora & fauna is expanding and looking for an aggressive individual to join their Sales & Marketing team as Sales & Marketing Executive. An attractive basic salary of RM 1,500 awaits the individual plus a commission of r% of total sales. The successful applicant should preferably have sales experience in retailing and good customer service skills. Please contact Ms Chew at 012 2882 455 or Peter Tan at 03 77832811 for an immediate interview.

Gardner & Wife Theatre seeks OFFICE MANAGER with accounting experience and full-time MEDIA COORDINATOR until at least the end of 2002. Office located Taman Seputeh. More information about company at: www.gardnerandwife.com. Please apply by email at: info@gardnerandwife.com

Senior Graphic Designer.

Requirements: MFA or BFA equivalent in Graphic Design/ Visual Communication, ability to conceptualise, rationalise, present and defend creative solution, handle projects until production stage, ability to translate design direction, formal design knowledge( including typography), creative writing/ art direction skills, production know-how, efficient time management skills, client liaising and interaction, knowledge of graphic design software such as QuarkXpress, Adobe Illustrator, Adobe Photoshop, multimedia skills will be an added advantage, applicants must have at least 3 years working experience. For more informations please contact freeform@po.jaring.my

INTERACTIVE

Communication Breakdown By josh Sklar, Global Chief Creative Officer CCG.XM- jsklar@ccgxm.com

WE'RE all in the business of communications.

Our whole professional existence centres around attempting to connect with an audience through words, imagery and the hopefully unique and relevant ways we package them. We set up strict rules and processes to ensure our efficacious, tried and proven principles are carried forward with objective care as opposed to being chained to our own personal opinions. And yet somehow this professional approach goes out the window when we're dealing with each other or the client.

Time constraints are the most often quoted reasons for cutting corners on internal/client communication. Personally I chalk it up to inherent laziness and a misguided belief that because everyone involved understands what they should be doing so well, there's no real need to get mired in paperwork or methodology. But how many projects, especially when it comes to technically demanding interactive work, go awry due to miscommunication? I'd say it's the

vast majority of them. Sure, at the end of the day the good shops generally hit the deadlines within the budget, but a great deal of the pain, long, late nights and dwindling profitability could be avoided if we were strict in our adherence to process.

In my very humble opinion, there is a critical period at the beginning of an assignment when the client and agency team need to be inducted into the way everything is going to work.

From setting up the approval process to documenting meetings to developing a project plan with clear responsibilities outlined - inclusive of implications if dates are missed or assets unavailable unexpectedly. The "he said, she said" blame game that invariably occurs down the road of an implementation would be nipped in the bud if this is done.

Unfortunately most clients are still greatly inexperienced when it comes to involvement with new media. They understand their product, brand attributes, target audiences/general constituents but are largely at a loss as to what it takes to actually build the online or computer-based communication piece they're commissioning. Not their fault. As I said, it's simply a

lack of practical, hands-on experience. That's why it's so important for the agency lead to clearly articulate what will be happening, including why it's imperative that the client understand the reasons for doing so: to save them time, frustration, money and to realize the best possible end deliverable to meet their brand or other business objectives. If the client waves their hand in annoyance when you try to do this, you'll simply need to dig your feet in the sand and push back. Bring up examples of what could go wrong if either side doesn't understand these important issues. Be unrelenting, as any good project manager should be, when it comes to sticking to the project schedule. Give advance warning to the client when they're going to owe something such as a sign-off, a scheduled stakeholder interview or content.

You won't be adding to their job and start annoying them if you've made it clear from the word go what the expectations are. This is how you form a partnership to achieve the objectives that are important enough that they spend copious (we hope) amounts of money with you. We're communication professionals, we should be able to make ourselves heard.

CAMPAIGNSHOWCASE

"Behaviour" TVC.

owe Donald Lancaster, HSBC Regional Account Director Asia Pacific and Chris Howden, Creative Director at Lowe Malaysia to find out more ...

What was it like to work on the campaign?

Chris Howden and David Sin

LOWE WORLDWIDE's new global campaign for HSBC begins by taking a fresh look at human behaviour. The worldwide commercial takes a look at practices which may be common in one culture but are perceived as taboo in another.

This ties up HSBC's positioning as a global bank that understands local culture. Using insight and humour, the campaign nails the point that HSBC is a bank that understands these cultural differences well enough and acclimatises itself to serve the customers (wherever they may be) better. The global campaign is running in 8r countries and covers more via satellite. Currently there are three key tv commercials for Asia and around 7 core press/outdoor executions. Satellite and terrestrial tv will provide the main thrust of the campaign, supported by newspapers, magazines, outdoor, airport media and the internet. ADOI talks to

It has been a fascinating exercise in developing a fresh and different positioning for a great financial brand; and it has been a truly worldwide network effort in developing great creative work in all the key markets.

CH: If there was ever a globally created campaign this had to be it. The creatives were drawn from all corners of the the world- from London, from New York, Hong Kong, Singapore, Malaysia and China. The local insight allowed us to really look into local behaviour and local knowledge and then compare them with different nationalities. What does a Malay do that's different from someone from Hong Kong, China or London and what's the connection to the bank? To some degree the campaign allowed us to really investigate a lot of cultural differences and understand them better.

Financial services is a rather difficult category -what did HSBC try to do differently? How did you tackle the brief?

HSBC is unique in that it is effectively a new brand - it was only adopted by the bank around the world in 1999 - and at the same time it is the world's second largest bank. It is

a rare opportunity to help shape and define perceptions of such a new yet powerful brand.

Following a period of studying existing research from many countries, some tailor-made research was conducted in two waves around the world, amongst customers and non-customers.

The differentiating positioning comes from HSBC's heritage and character as defined by customers and staff, and it is in itself an essential part of the brand.

Who was the team (worldwide and local) who worked on the campaign? Both the creative and servicing teams...

The team has been huge, and is too numerous to mention completely. However the global strategic effort was led by small teams in London, Hong Kong and New York orchestrated

by Nigel Gilbert - Worldwide Account Director working closely with Donald Lancaster, Regional Account Director for Asia Pacific. The creative direction was led by Adrian Holmes, Worldwide Creative Director, with significant contributions from Dave Christensen (London), Jason Schragger & Andrew Reznik (Singapore), Mike O'Hare (China), Chris Howden & David Sin (Kuala Lumpur), Bobby Reiser & Sally Overheu (New York) amongst many others. The local Lowe team comprises Chris Howden (Creative Director), David Sin (Deputy Creative Director), Khoo Kee Suan (Deputy Managing Director), and Geraldine Yong (Account Director).

CAMPAIGNSHOWCASE

"Brides for brothers" TVC.

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What has been the response been thus far?

Whilst too early to have empirical research results, we have had overwhelming positive feedback from the markets - both customers and Bank staff- which bears out the pre-campaign research that was done in 6 countries.

Undoubtedly we have touched the right nerves and are offering people something they clearly want: The power of a major international Financial provider with the sensitivity and positive understanding of a truly local establishment - the world's local bank. Banks are usually perceived as ultra-conservative organisations.

ADOI decided that it would be cool to sit down with David Hall, Asia Pacific Head of Public Affairs, HSBC and Elizabeth Wee, Head of Public Affairs ~SBC Malaysia to find out more about the brave steps they took as clients.

What did you aim to do with the campaign?

The campaign is the next phase to establish the global HSBC brand. With it we intend to build brand equity whilst being as relevant to customer requirements as possible, and at the same time clearly setting us apart from our competitors.

EW: Our aim was to create a new meaning for the brand i.e build on HSBC's reputation as a total financial services provider. The objective of the campaign is to create a higher awa-

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reness for the HSBC brand both at a global and at a local level in Malaysia.

Do you like the work you see?

The new campaign makes a clear and positive statement about what HSBC stands for. We believe it will differentiate the HSBC brand not just from other financial organisations, but from other global brands.

EW: Yes, the work is world class and highlights our strength as a global, local bank. There was a lot of time spent on research and concepts before the campaign development. We conducted focus groups with our existing and potential customers in several countries to understand what customers want from a financial institution.

What has the feedback been like?

By T.Sivananthi

strategy which is pertinent and motivating to customers from all walks of life, whether personal, commercial, institutional or otherwise, regardless of nationality, age or gender. It is even more difficult to produce creative work which truly resonates with all these- and staff and shareholders at the same time. We believe that this creative strategy has met these objectives well.

Were you happy to work with Lowe?

Lowe was appointed to handle the global launch of the brand early in 1999, and has been our partner in this effort since then. Their contribution strategically and creatively has enabled us to move well ahead in our plans, and has resulted in some advertising which both we and our customers have noticed, enjoyed and remembered.

We will be researching the effects of the campaign in key markets around the world to enable quantification of the results, but anecdotal feedback so far has been very positive.

Local markets are enthusiastically developing local versions and executions which, of course, deepen and strengthen both the meaning of the campaign and our relationship with customers.

What were your strategic expectations and were they met?

It is inordinately difficult to generate a

Elizabeth Wee

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BUSINESSTRENDS

Dentsu pours some sa l<e for the world

By T.Sivananthi

"We can pass our clients on to the best agencies in the world, and it will still be to our benefit."

NORIYUKI SHUTTO is the man most people are eyeing. In early March, Publicis bought up Bcom3, and Dentsu, cash-rich from their recent public listing snapped up IS% of the newly formed venture The Publicis Groupe.

The question hanging in the minds of industry people is whether or not Dentsu can be affiliated (or wants to stay affiliated) to WPP in some parts of the world and to Publicis in others. The CEO of Dentsu Asia has no qualms in proclaiming that Dentsu is set on expanding in Asia. As far as he is concerned, Dentsu will continue dabbling in what he terms 'multi-channel' activities as long as it is good for the Dentsu agency. He points out that the WPP connection works out extremely well in America and Publicis in Europe.

In Malaysia and Singapore, Dentsu coexists peacefully alongside DY&R, and although there have been talks of both agencies merging along the years, it has till today just remained talk. Noriyuki's personal stance is "wherever necessary cooperate, wherever necessary, compete." Dentsu understands that it helps to have powerful relatives

all around the world and according to Noriyuki, when Dentsu has a considerable voice (which IS% ought to bestow), it stands to gain from the company. As he puts it "We can pass our clients on to the best agencies in the world, and it will still be to our benefit." Dentsu in Japan originally started out as a news wire and used to sell stories to newspapers. As newspapers were very often cash poor, they would offer advertising space to offset payment. Then the company had to go and look for people to take up that space - and walla! an agency was born. This particular sort of start enabled Dentsu to provide many avenues of service to their clients.

Today, Dentsu in Japan employs more than 6ooo people and handles many conflict-ing accounts. While conflict of interest is a high-priority issue in the West, it doesn't seem to be a problem to most Japanese clients . In Dentsu, the structure is such that each team working an account is like "a separate corporate entity by itself." It will be interesting to see whether such a philosophy will take off in the ad world just like sushi. Dentsu, afterall, is the largest agency in the world. When one thinks of Asian brands, it is Sony, Toyota and Honda and all of them sprang from Dentsu. Noriyuki doesn't hide the fact that one of the priorities of Dentsu Asia is to grow the Dentsu brand.

While the business side of things can be

covered by mergers and acquisitions , it is essential that the agency brand gathers strength in the world outside Japan. He especially is focussing on growing their base in Singapore and Malaysia. In Indonesia, Dentsu is the largest agency and holds entire accounts for Japanese brands such as Sony, Toyota and Kao. Last October, they opened in Manila and rank Toyota, Coke and San Miguel amongst their clientele. In Thailand, they've recently acquired the coveted Thai Tourism Board account. Noriyuki is targetting strong growth in the ASEAN countries and in India as he feels that the culture is compatible and hence, conducive. Dentsu has also developed marketing and branding tools just like other multinational agencies. Previously, these tools were for the Japanese market and have now been adapted for use in Asian markets.

One such example is the Optimiser - a media tool especially crafted for Asian consumers.

He admits that in line with this thinking, Dentsu is investing heavily in the region .

Despite the current economic hiccups, the company forecasts that the region is growing by 6-7% every year and "if we do not ride the wave of Asian growth, we will miss a very big opportunity" says Noriyuki.

Dentsu Malaysia recently moved into their n ew premises at Plaza Damansara.

sing F¡ stival Pattaya, Thailand

~ADFES

002

They Partied On In Pattaya!

Indra Abidin (Chairman of Steering Committee and President Director, Fortune Indonesia) witb Gandhi SlllJ'oto (Creative Director Leo Burnett jakarta) in front.

Left to right: Moon (Moon FX KL) RTS Masli and Rikuichirou Morinaga (Dentsu Inc. Chubu).

The Malaysian delegation with festival emcee Sara Fielding.

,,., .::tnnJ MADiln"INr.mMMIINif.ATIONS

Creative Rankings Celebrity Donald Gunn (left) witb Richard Corner (IAA).

Laurence Ng from Hong Kong manning his IDN bootb.

The CRUSH team from Singapore take their share ofglory for tbe night.

Festival featured a full gallery of ads in all tbeir glory.

Participants browsing tbe booths.

ADFEST is one of the most prestigious awards show in the region. Held in Pattaya from 14th-16th March, the festival drew in the crowds as more than sso delegates flocked to the sunny shores. And you know as well as we do, that when the ad crowd gets together - they party like there is no tomorrow. Naturally, they took some time off to collect a few awards and attend a few talks . The sth AdFest saw 2400 entries this year and handed out 101 awards. The festival is growing from strength to strength and is beginning to be recognised for its high creative standards . The results of this year's AdFest demonstrate that - as most of the awards were handed out to great campaigns for genuine clients.

ADFES

Left is Gavin Simpson (Oglivy KL) with Sagar (O&M Mumbai).

The POSTAM Booth from Malaysia -Moon is all smiles.

Left, jimmy Lam (Festivals' sub-committee Chairman and Regional Executive CD with Akira Kagami, Dentsu Inc

Dentsu Inc. Tokyo secured a hattrick when they picked up 'Best of the Best' for TV while BBDO Bangkok took the creative lead for Thailand by garnering 9 awards in total including the 'Best of Print'. Thai advertising was at its peak, earning a total of 29 awards maJ<ing it the most awarded country in the region. Tokyo came second, with 22 awards, Hong Kong was third with I8 awards, Singapore had IS, Mumbai, 6, Makati City and Shanghai 4 each.

Saatchi & Saatchi Hong Kong was the leading agency in the region - narrowly beating Dentsu Tokyo - with I3 awards including 'Best of Photography', 'Best of TV Editing', I gold and 4 silvers. This must be a feather in the cap for Saatchis' Craig Davis who was recently promoted to Regional ECD.

jerry Goldberg of New York Festivals (right) and Vinit Suraphongchai (Festival founder).

Desmond (TMM Malaysia) with festival judge Ctar Sudasna (Chairman of Siam Studios).

Dentsu Inc. Tokyo took second place with I2 awards followed by BBDO Bangkok with 9 awards.

The team of judges came from across the region and every country and every agency was well-represented. Headed by Akira Kagami, the IS judges worked intensively for a week prior to the Gala ceremony. The AdFest endeavours to apply stringent judging criteria and entries may only come from agencies and production houses based in the Asia Pacific region.

But creativity is a serious businessDonald Gunn, Akira Kagami and Alfredo Marcantonio presented their ideas to the crowd. In a nutshell, all three speakers advised the delegates to gear up for an explosive economic growth propelled by China

002~

Tay Guan Hin, CD of Leo Burnett Singapore strikes a pose where it matters.

and India. The delegates also had the opportunity to attend a viewing session to see the I46 finalists selected from over 2400 entries.

Akira Kagami provoked thoughts with his clarion call to create a new creative world map that redresses the imbalance between population and geographical area in relation to the predominance of western advertising within the industry. The delegates also attended an afternoon panel discussion chaired by Jimmy Lam on 'What makes an award-winning ad'. The topic sparked off an enthusiastic, lively and frank debate which ended on the note that the AdFest was not only about winning creative awards, but about learning new ways of engaging the consumer with advertising communications. And of course, it was about parties.

a001 MARKETINGCOMMIINlfATJnNc;: J1

~ADFES

002

Best TVC and Best TV Direction "Whale" by Dentsu Inc, Tokyo for japan Ad Council

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ADFEST2002~

Best Cinematography "Orange" by j Walter Thompson Bangkok, Tokyo for Orange

~

7

Best of Photography: "Cecilia"

by Saatchi & Saatchi Hong Kong for Campaign Brief Asia

4 The Best of Print: "Box"

by BBDO Bangkok for FedEx

5 Gold: "Arnage" 2

Silver Campaign: "Sara Lee"

by TBWA Hong Kong for Bentley Arnage

by Ogilvy & Mather Singapore for DoAsia.

6 Silver: "Cat" 3 Bronze: "Cleavage" .

by CRUSH Advertising Singapore for The Private Shop

by BBDO Bangkok for Diet Pepsi

7 Bronze: "Worm"

by O&M Kuala Lumpur for Mattei

a001 MARKETINGCOMMUNICATIONS 23

~ADFEST2002 JUDGES

Best of Best

JUDGES

Best Tvc Best Tv Direction Best Editing Best Cinematography Best Special Effects Best Soundtrack Best of Print Best Art Direction Best Photography

Japan Ad Council Japan Ad Council AXA Insurance Orange Sapporo Black Label Fevicol Adhesive Fedex KDDI Campaign Brief Asia

Dentsu Inc, Tokyo Dentsu Inc, Tokyo Saatchi & Saatchi, H.K J Walter Thompson Bangkok Hakudo Inc, Tokyo Ogilvy & Mather, Mumbai BBDO, Bangkok Dentsu Inc, Tokyo Saatchi & Saatchi, H.K

City

No. Awards

Hong Kong Tokyo Bangkok Singapore Bangkok Singapore Shanghai Bangkok Tokyo Bangkok Bangkok Mumbai Bangkok

I3 I2

Network

No. Awards

Saatchi & Saatchi Ogilvy & Mather Dentsu BBDO Leo Burnett

25 IS I3

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Top Awarded Agencies Agency Saatchi & Saatchi Dentsu Inc. BBDO Ogilvy & Mather Saatchi & Saatchi Saatchi & Saatchi D' Arcy Shanghai Dentsu Young & Rubicam Hakuhodo J Walter Thompson Lowe Ogilvy & Mather Ogilvy & Mather

9

6 5 5 3 3 3 3 3 3 3

Top Five Awarded Networks Rank rst 2nd 3rd 4th sth

Asia Pacific Advertising Festival (Adfest) Agency Best

Gold

2002 -

TVC Category Silver Bronze

IO

5

Singapore Agencies Performance

Finalist

Ogilvy & Mather Saatchi & Saatchi Crush Lowe & Partners TBWA Batey Ads BBDO Dentsu Young & Rubicam Impiric Singapore TLG Communication (Leo Burnett)

Best

Gold

Print Awards Silver Bronze Finalist 2 2

4 3 2

2

Asia Pacific Advertising Festival (Adfest) 2002 Agency Best

Gold

TVC Category Silver Bronze

Total 6 5 2

2

Malaysia Agencies Performance

-

Finalist

Ogilvy & Mather Leo Burnett BBDO

13 4 3

Best

Gold

Print Awards Silver Bronze Finalist

Total

3 2

Asia Pacific Advertising Festival (Adfest) Agency Best Ogilvy & Mather

24 aDOI MARKETINGCOMMUNICATIONS

Gold

2002 -

TVC Category Silver Bronze

Indonesia Agencies Performance

Finalist

Best

Gold

Print Awards Silver Bronze Finalist

Total

ADFEST2002~ AKIRA KAGAMI is an icon in Japanese advertising. As Executive Creative Director of Dentsu Inc., he personifies Dentsu's creative edge and helms a creative department of over 6oo people. This year Akira was Chairman of the judging panel at AdFest 2002 and also the keynote speaker. He started his career as a copywriter with Dentsu in I9JI as a copywriter and never left. A graduate of Waseda University, Akira has a lanky disposition that belies his Japanese brethren. In 1992, he made a presentation at Cannes of 'Far East of Eden"- a presentation of Japanese tv commercials.

Having served on the jury at Cannes and Clio, Akira is a sought after speaker at global creative events. This year he spoke about "Redrawing the world creative map", in reference to the balance of power when it comes to countries that win the most creative wards globally.

When asked about the judging at AdFest this year, he comments, "It is never an easy task, especially judging all the top work, which can be very demanding. But we have a very good system here, unlike Cannes and Clio - we have open discussions amongst the judges. It goes from 'all corners' straight to the finalists, involving an 'in/out' process. From the finalists to the winners, it is a discussion format."

Akira made some profound comparisons between East and West creative by playing commercials for the same brand but with the

Towering over Asia thinking originating from opposite ends of the globe. "Some stuff is universally accepted, but we should not discriminate each other's thinking without appreciating the cultural ramifications. Sometimes the cultural gap is so wide that I don't find some amusing commercials from the west at all funny. But the judges at Cannes and Clios who are mostly from the west can relate spontaneously."

Akira goes on, "I feel we should co-exist even though we are different. And we can find a lot of creative truths by recognising our differences." One of the key points in his presentation highlighted an observation that the 'family' unit in Asia has a lot of inherent values most consumers can relate to. "By appreciating the concept of family, we in the East can draw new inspiration for our creative thinking. Inspiration that can make our work stand out from the West." he adds.

Akira is no stranger to the challenges that lie ahead for Asian creatives. "To compete and win at awards festivals like Clio and Cannes, we

have to be original. About IO years ago, western judges found it difficult to understand our work- but now they know it is different, and they can appreciate the uniqueness."

Over the years, Akira has won numerous awards such as Clio, Cannes, the IBA Awards, as well as the Grand Prix at Japan's ACC Awards.

He also won the Grand Prix at the AdFest for two consecutive years with commercials created for satellite TV broadcaster WOWOW. He comments about Asia's centres of creative excellence, "India, Thailand are great.

Hong Kong, Singapore are also good - but more in a Western way. This year there is a lot of good work from Korea, China, Taipei but we don't see a lot from Philippines, Malaysia and Indonesia. I feel that Asian work will stand a better chance of winning at AdFest than at other awards events, because the judges are more receptive to the way Asians think."

But perhaps, the most telling message about Akira's keynote address was that Asia's wake up call has come, and now is the time for us to climb the world stage and be counted amongst advertising greats the world over. With the Asian century slowly becoming a reality, he couldn't get any nearer the truth.

Steering the course of Ad fest

AdFest had it early years of turbulence when it came to finances. Obviously a project of this scale is not cheap to pull off. But Indra says, " It has been an uphill struggle. We hope this year we will be make modest gains but we still need to amortize the past losses."

As part of promoting AdFest, Japan took the lead this year. Indra explains, "In Tokyo, they took the 4 years of award-winning work of AdFest and did an exhibition there to promote.

We are planning a tour exhibition which each country will organise. It first was in Japan, then it was in Seoul and then Taiwan.

There will also be a book coming out soon containing 4 years of work and it will be published every two years."

AdFest has become more of a networking event for some. "We h ave now invited production houses to participate because I believe they play a pivotal role in making creativity flourish.

In fact, D'Arcy and Leo Burnett time and hold their regional conferences here, so that their attendees get the best of both worlds -meeting peers in their agency network and learning from AdFest."

Finally, Indra summarises what creative people will miss out by not attending AdFest, "They will be losing sight of the benchmark -the Asian creative standards that are set every year."

INDRA ABIDIN is Chairman of the AdFest's Steering Committee this year serving a term of two years. Always looking resplendent in his long sleeve shirts, he was a picture of calm and grace. But his responsibilities were far from easy. With entries up this year, juggling the agenda for the event and overseeing the itinerary for each day, Indra had his hands more than full. As President Director of Fortune Indonesia, Indra is a true advertising man inside out. His agency is also the first ad agency in Indonesia to go public. But the event in Pattaya this year proved to be a challenge he most savoured.

He is upbeat about the growing number of entries which saw a record 2400 submissions this year. "I am positive that we will see an increase of at least rs% year on year. In fact, We are looking to see more than sooo entries in a few years time." Indra shares the same passion for AdFest as the founder himself Khun Vinit Suraphongchai, who envisioned it as the "Cannes of the East".

"The focus is two-pronged. One is to provide a forum for creative excellence in the Asian context and two, more importantly, to provide a

unique opportunity to be exposed to and learn from an Asian perspective while listening to speakers of world fame. And as we are a nonprofit organization, the costing is very breakeven, relying on the shared vision and support from the various associations in the region. The vision of AdFest is not to compete with Cannes but to offer an alternative source of learning and inspiration for the region. It's essentially pro-Asia, not anti-Western." continues Indra.

In reference to it being dubbed the Asian Cannes, he adds, "In its format, the AdFest follows the Cannes where delegates get to see all the entries; in a typical ad contest, delegates get to see only the winners. So, as in Cannes, there's inherent value in the AdFest of seeing and learning from so much good work. Delegates will also get to listen to illustrious speakers and a group discussion session to emphasise the learning aspect even more. You could call it the Cannes of Asia but we are actually a bit more of a 'learning centre'."

aDOJ MARKETINGCOMMUNICATIONS 25

~ADFEST2002

GUNNING

for the best

KEEN observer of all things award-winning in the world of advertising, Donald Gunn is the man behind the Gunn Report- the Who's Who guide to who rules in the creative arena worldwide. Here are his recent takes ...

The most awarded Commercials I TV Campaigns from Asia in Pacific 2001 are: Burn-En Systems 'Smoking Defector'

from japan.

2. Wrangler jeans 'Torture' from Thailand.

3· Swipe Cleaners 'Emperor of Kowloon' from Hong Kong.

4· Unicef 'Someone Else's Child' from China.

5· Cancer Patient's Aid Association 'The journey' from India.

These were all in the Top 30 Worldwide.

6. New Zealand 7· India

The most awarded Print Ads/Campaigns from Asia Pacific in 2001 are: r. 3M Post-It Notes 'Don't Forget' campaign from India.

2. Auckland Regional Council 'Draincovers' campaign from New Zealand.

3· Guinness 'What's On Your Mind' campaign from Singapore.

4· ] apan Lighting Design campaign from Japan.

5· Stoli Lemon Ruski campaign from Australia.

These were all in the Top 30 Worldwide.

The most awarded agencies in the world in 2001 The Most Awarded Advertising Agency In The World In 2001 Is Dentsu (Tokyo & Osaka).

Dentsu was 6th in 1999, 4th in 2000 before taking the top spot in 2oor.

The most awarded countries in Asia Pacific. r. Japan 2.Thailand 3· Singapore 4· Australia 5· Hong Kong

Production companies in Asia Pacific in 2001: For 3 years (1999-20or) only 7 production companies in the world have been in the top 25 for 3 years in a row. 2 out of the 7 are from Asia: Matching Studio (Bangkok) and The Film Factory (Hong Kong & Bangkok).

Other agencies from Asia in the Top so worldwide are: Ogilvy (Singapore) 12th, Ogilvy (Bangkok) 22nd , BBDO (Bangkok) 25th, Ogilvy (Mumbai & Bangalore) 27th, Hakuhodo (Tokyo) & Saatchi & Saatchi (Wellington & Auckland) 33rd, Leo Burnett Sydney 36th, BBDO Hong Kong & Euro RSCG Hong Kong 42nd

Source: Donald Gunn's presentation at AdFest 2002, results consolidated from the Gunn Report I999-2oor

LB Party On At Pattaya!

IN true Bcom3 style, Dentsu and Leo Burnett threw one helluva party during the AdFest 2002 at The Sugarhut Resort in Tabphya Road, Pattaya. Set by the poolside (we are told almost everybody was in the pool by midnight), the whole area was cordoned off by a hanging line featuring an assortment of panties, bras and gstrings. Guess that's the sort of swimming gear suited for Pattaya!

And now for some serious drinking! From lefr: Fukada, Iw, Alejandro Lopez ECD&MD Beacon Communication k.k. japan and Bhanu Inkawar.

L·R, Trudi Harris LB HK, Pornsiri Rojmeta, Ogler, Chrisren Monge MD and ECD LB Thailand, and Bhanu Inkawat, Chairman LB Thailand

Party time!

Pornsiri Rojmeta, MD of LB Thailand and Berndr Soderbom, MD of Leo Burnerr Kreasindo, Indonesia

Akira Kagami, ECD Denrsu Inc. and Richard Pinder, Regional Managing Direcwr Leo Burnett

The party was too hot to handle for the Dentsu guys!

Ito and Fukada from Dentsu getting a bird's eye view.

Haden from Silver Screen is garlanded with some party gear.

Trudi Harris, jane Fraser and Pornsiri Rojmeta

26 aDOI MARKETINGCOMMUNICATIONS

BookReview

Asian Ads Hot Up! Reviewed by T. Sivananthi

" ... one of the best boo I< on advertising I have ever read ... " Jack Trout Title: How Asia Advertises Author: jim Aitchison Publishers: john Wiley & Sons

IS Asian advertising boring? Are Asian clients more conservative than their Western counterparts? Are Asian consumers less attracted by ad creativity and go for a more direct sales pitch? Jim Aitchison's latest book takes a look at some of the most innovative advertising in the region and demonstrates how brands, clients and consumers '\ have been blown away by remarkable ad campaigns. Covering a wide range of categories from \ apparel to beverages, banking to fast food, services to media, public services to retail, Jim ' shows how agencies distilled the marketing problems of the client and crystallised the solutions as single-minded, creative propositions to consumers. And to great success. The strength of this book lies precisely in its ability to break down this process into parts such as problems, strategies and results. Each part is then analysed in-depth so that the reader understands the fine thinking that has gone into creating a great campaign.

The first question that anyone will ask is: Being the hugely diverse region that it is, is it really possible to write a book that encompasses all advertising in Asia? The book never claims to be

the adman's guide to survival in Asia. Jim has gleaned the gems of Asian advertising and presented solutions that have worked for products facing particular problems in specific markets. The book is based on the premises that there is no such thing as a 'typical' Asia-Pacific campaign or a 'typical' Asia-Pacific consumer. Jim himself says "the best work adheres to the universal truths of advertising - singularity of proposition, simplicity of expression and relevance of message" and that in this book the reader will find "uncommonly good work works as well in Asia-Pacific as it does anywhere else in the world." Usually the campaign works best when it incorporates some magic element of surprise or difference.

Humour too is a successful tool in more markets than might have been expected. Crafting attracts the Asian audience as well and helps leave an impression. However, the best work does not copy the West and speaks with its own voice, appropriate to the brand.

It's high time that advertising in Asia gets the recognition it so rightly deserves. And Jim has done great credit by presenting work in many countries, across the different categories to do justice to the topic of his choice!

AWorkaholic's Sabbatical By julie P. Lingan

HAVING believed all throughout my career that workaholics abhor sabbaticals the way vampires have an aversion to the cross, I now u think otherwise. Like most advertising addicts who thrive on 16-hour day fixes and every second must be devoted to work, sacred work, I never imagined that I would one day love sabbaticals so much, every second feels like cocktail hour.

As I write this on the first day of spring, I am sharing iced coffee with another ex-workaholic, a dear friend who used to live in the office he couldn't tell whether it was a Sunday or a Monday. Like me, he has been on sabbatical for months. I am not surprised by the transformation because I, too, mirror practically the same magical change. Instead of looking haggard and harassed, he looks as fresh as a beachcomber whose hair has been caressed by the sun for so long, it has assimilated its golden hue. He has on a disarming smile and a resort outfit, a complete departure from his past uni-

28 aDOI

MARKETINGCOMMUNICATIONS

form of worried frown, corporate shirt and necktie. Even his manner of speaking has taken on a gentler tone, his laughter more pure and lyrical, it reflects contentment and peace ofmind. ¡ This is heaven, he says and I answer this is poetry. We talk like two different creatures from another world. We have left, albeit temporarily perhaps, the daily grind of unreasonable deadlines, presentations, approvals and disapprovals, lose-lose arguments on what used to be monumental tasks that now seem trivial and irrelevant, all night post-prods and shoots at dawn, new biz victories and defeats, life and death. The adrenalin state of mind has been replaced by serenity reminiscent of Buddhist monks meditating in saffron robes.

Another friend who has been on sabbatical longer than us has taken years off his face, if one didn't know he was on sabbatical, one would think he had a facelift, the vain diva that he is. Of course, there is life after advertising,

dahling, he drawls in his inimitable way. And when I confessed that I missed presentations, he said but dahling, you and I have never left the stage!

Meanwhile, we keep in touch with friends who still live and breathe advertising. The last time I asked one award-winning CD how his love life was, he echoed a universal complaint: how can I have a love life when I don't even have a life! it is almost dusk so my friend and I decide we had enough of coffee and we should move on to the other side of paradise where they serve the best frozen margaritas.

Even our watches seem to have adapted to our new leisurely lifestyle and as we reflect on this blissful suspended animation, we tell each other we must convince our ex-colleagues to at least be receptive to the idea of sabbaticals, failing which we are toying with the idea of starting a support group called Workaholics' Anonymous.

â&#x20AC;˘

THE INTERNATIONAL NEWSMAGAZJNE presents

Hovv Asia Advertises!

A thought-provoking presentation for advertisers, ad agencies and media professionals.

starring

International award-winner and best-selling author 4pm, May 14, 2002 Kuala Lumpur Golf & Country Club, Bukit Kiara.

Admission by invitation

Co-sponsors:

~~ MMT (MALAYSIA) SON BHD

PASSIONPICTURtS

lVCSHOWCASE

The "Kungfu" TVC

The "]oget" TVC

•

USC In

•

I

I

•

By T.Sivananthi

FCB's two new tvcs for Anlene tackle the subject of life during the twilight years rather humorously. One features a senior woman seemingly doing tai-chi early in the morning -but it turns out that she's actually practising her kung-fu as she turns and kicks a board and breaks it! The second has an elderly couple doing the traditional joget and then just as easily, shifting into high-powered modern music and dancing along with it. These truly local examples of fiesty seniors can't help but bring a smile to the viewer's face. ADOI sits down with SPLee, Creative Director at FCB Malaysia to discover more about how this commercial came into being.

What was it like to work on the campaign?

Sometimes you have to bin the music score and improvise. But with method in the madness. The clients know this. There is mutual trust and respect. On either side, I think it's important people can speak their minds without fear. When you're hard on the work, and not on the people, it makes the work enjoyable.

You used humour and very effectively too.

Does humour give the'edge to the campaign?

It's odd that in a country where people are rather funny, the advertising is not. With the clutter of contrived stuff on air, I'd imagine the spots would get a cynical viewer's 30-seconds.

Did the executions live up to the idea or did

30 aDOI MARKETINGCOMMUNICATIONS

they surpass the initial idea?

The directors, Marcel De Silva and Kenny Benedict, a.k.a. "TWISTED" of Pegasus, made it look fluid and unrehearsed without losing the plot. Producer is Kamil Layali. Great team to work with.

Who was the team who worked on the campaign?

The account management team comprised of Puteri Badrinise, Nazli Shariman and Suhaila Nordin while KC Aui and Ajay Bakshi worked alongside with me on the creative side. Hazel Fernandez and Gerard Peter were the Producers.

How long is the campaign running?

The 2 spots aired n February on RTM2. They run about 2 months.

What has been the response been thus far?

We played the first online in a hotel function room. A waiter who was watching laughed. When prompted, he played back exactly what we wanted to hear. So that's nice. But we'll have to see the research.

ADOI ALSO talked to David Ross, Anlene's Marketing Director and Gan Siew Yew, Anlene's Group Brand Manager to find out what the client's perspective.

What did you aim to do with the campaign?

DR: As the No.1 brand in bone health in the milk category, Anlene has always taken

the leading role in educating consumers on the importance of maintaining bone health throughout life. FCB identified the opportunity to partner with TV2 for a community health message relating to bone health. The aim of the campaign was to keep the bone health issue at the forefront of the consumer's mind, through a different approach than our normal heavily-branded spot buys.

Do you like the work you see?

GSY: Yes, very much. In fact, from the storyboard we approved to the actual commercial, it was more than what we expected. It was different from our usual style of advertising, but yet the message of "strong bones for a healthy life" comes across very strongly.

What has the feedback been like?

GSY: For those who have seen the ad, we certainly got positive feedback. It has a "feel good" factor that not all Anlene advertising has had in the past.

What were your strategic expectations and were they met?

DR: Well, since it was a community health message type of ad, we were just focussing on getting across the message "Maintain strong bones so you can enjoy life when you are older", and it is quite clear from the feedback that we have achieved this. We were also trying to link Anlene as a brand that understands its Malaysian consumers' culture and lifestyle.

Dl RECTMARKETI NG

Abolishing Above-The-Line Kurt Crocker, Creative Director Drayton Bird, Crocker & Mana

IT'S official, and has been for quite some time.

Above-the-line advertising has been banned.

Also banned: Below-the-line "marketing activities". And banned some more: Silly statements like "Web sites are really more about customer communication than Direct Marketing."

The phrase "above-the-line" has usually been applied to media opportunities. Above-the-line has meant advertising placed in newspapers and magazines, on radio, TV and outdoor boards. Essentially, above-the-line was meant to identify anything that reaches a relatively broad consumer audience, r;gardless of its marketing objective.

Some smart person, probably a Direct Marketing specialist, tried to dispel the myth of above-the-line communications by inventing another unhelpful phrase: "through-the-line".

"Don't think 'above' or 'below'," he or she philosophised, "Think'through". Unfortunately, this theoretical approach does not directly address the fundamental practical question: "When should Direct Marketing specialists create advertising in media like press, magazines and TV?" If "through-the-line" is to be useful jargon, let it mean the line that is drawn through all communications based on the questions: "Response or not? Now or later?" One might argue that all advertising should elicit some sort of response. Buy our product. Sign up for our service. Sales should be the prime directive for all marketing communications. But marketers dbn't always require an immediate response. Buy our product now. Sign up for our service now. Get more information now.

When response now is the main objective of your advertising, give it to a Direct Marketing specialist. Only they know all the techniques required to motivate immediate action, in any medium. Only Direct Marketing specialists are concerned with the totality of the selling cycle, from identification of prospects and customer acquisition, to maintaining and

maximizing customer profitability.

"Above-the-line" be damned. Damnation, also, to ''below-the-line". Direct Marketing, which is so often mistakenly equated to Direct Mail, has been traditionally lumped with ''below-the-line" activities like brochures, catalogs, take-ones and other point-of-sale material.

And CRM, or Customer Relationship Management, is also deemed a ''below-the-line" marketing activity, probably because it usually involves mailed (and/or e-mailed) communications.

This is wrong because it denigrates the purpose of Direct Marketing: To identify prospects and customers as individuals, and build lasting and mutually beneficial relationships.

Here's a consideration that contradicts the all-too-neat guideline: "Response or not? Now or later?" What if you have a Direct Marketing specialist managing your loyalty or rewards programme and you want a press ad to promote the programme's benefits? Not for the purpose of an immediate response; just to reinforce the participation of existing customers, and remind non-customers of what they're missing. Should your DM guys do the ad?

Yes. Because even though the ad is nonresponsive, it is part of a long-term programme that requires the delicate management of relationships. For the sake of both consistency and results, maintenance of those relationships mandates focused control. Keep your DM specialists at the helm.

As for Web sites, if your content and design are only about "customer communication", you are wasting your time and money. Your online efforts should realise every opportunity to turn prospects into customers, build your database and, at a minimum, offer existing customers a chance to interact with your brand. All of these objectives are only obtainable with the application of Direct Marketing principles.

And if you are an online retailer, applying Direct Marketing fundamentals is essential.

According to the DM News, the U.S. Direct Marketing Association (DMA) has recently released a study that concludes, "retailers are placing greater emphasis on traditional direct marketing practices in their Web site design."

DM News quotes DMA president/CEO H. Robert Wientzen: "After nearly a decade of learning what works in the online marketplace, retailers are getting back to basics and focusing on factors that build the bottom line.

They are placing less emphasis on features such as community that do not guarantee a solid return."

"Web sites have little to do with Direct Marketing." Banned, banned, banned.

Client: UMW Toyota Agency: Saatchi & Saatchi Executive Creative Director: Edmund Choe Creative Director/ Copywriter: Lee Sz u Hung

PIASSIONPICTUR[S t\ [

Art Director: Kelvin Leong Agency Producer: Florence Yeoh Cinematographer: Khun Nui Film Director: Eva Munz ProducerIt ' AD: Brian Francis Line Producer: Penny Woo

MEDIAOWNER

â&#x20AC;˘ â&#x20AC;˘

ess wr1 1n

By T.Sivananthi

versa. For TIME a combination works best. For me, a good writer is one who has confidence about the story he is dealing with and in the approach he is taking. That confidence come from deep reporting. But there's also intelligence and sound thinking and analysis that enables the writer to be sure of what is really happening- the real story and the real issue at hand. And that confidence comes out on the page.

TIME's Asian edition was launched in 1996, and since then the edition has grown increasingly relevant to the region's people. anor talks to Karl Taro Greenfeld (above), the newly appointed editor of TIME Asia, to find out how the magazine is evolving and what he will be bringing to the page.

You've written for many magazines. What do you think makes for a blazing read?

The best stories are those where the reader gets the sense that it is written by a person trying to tell a story. These stories touch the emotions, they are precise and the reader knows that it's written by deep, deep knowledge about the subject matter. Those are the kind of stories that I like to read. But obviously we can't be doing that all the time, since we're a news magazine. We have to inform the readers and it's still a very good read even if it doesn't have the personal intensity. The articles give you the context, the background, the depth of why it's important, how it impacts you and the future.

What is a reader looking for when he picks up a magazine like TIME? Increasingly now, a wide array of media is available. Our readers are busy executives who don't have enough time to surf 25 websites, read 6 different newspapers and watch enough tv channels. And they look for a package, like TIME which offers thoroughness and covers everything from news, culture, society, books, music. The very name of the magazine indicates its mission and that mission is more relevant now because of the fragmentation of media.

32 aDOI MARKETINGCOMMUNICATIONS

As the new editor, what will you be bringing to

the table?

I find it very interesting. I was born in Kobe, Japan and my first job was with a Tokyo newspaper. I covered the region quite extensively in my 2os and now in my 30s, am more mature. I have a family and 2 daughters. The stories that concern me today, are not the adrenaline-rush stories that I pursued in my youth. I'm more thoughtful and the stories that interest me are different. I'm concerned about education in Asia, health care in Asia. I want to provide a package that combines the energy and the enthusiasm with thought-provoking, service oriented stories.

How does TIME keep up with the times? How do you innovate your product?

It's a constant evolution, we're always tweaking sections of the magazine. We can't really change the way the magazine looks, like the logo can't be changed and the red border can't be changed. It's the story section that's constantly evolving. In 1996, when TIME Asia first started it was just covering Asian news - elections, political and economic crises, it was much straighter then. Now we're offering a wider range of our lives and we're able to cover a topic like Zhang Yi Mou's latest movie just as we're able to cover Japan's troubled banks.

We're living the stories that we write.

You work with a lot of writers. What makes a good writer? Is a good writer different from a good journalist? How so?

That's an interesting question. Because not all good writers are good journalists and vice-

What are the special editions that we can look forward from TIME in 2002?

The next big one is about Asian heroes and is devoted to people across Asia who are heroic and inspirational to the rest. There are some surprising people on the list. Once again we're going to do the Asian journey issue and in addition to that we're going to do a special issue on China.

You were recently in Kuala Lumpur to meet the Minister of Culture and Tourism ...

Yes, there were two key issues. One was the placement of the tourism ad on the back cover and this was a mistake on our part as the production department had placed the ad wrongly. We apologised about that. Generally the dialogue went well.

That's another challenge in Asia because different governments are sensitive to different

things ...

It takes a lot of my time after the stories appear because we have to reassure people. We do cover Asia fairly and we won't compromise on the story especially if they're relevant to the audience.

SUITSPECIAL

"I got into advertising because of Women"

By T.Sivananthi

business may have the wrong judgement about ads. What the man on the street thinks of an ad can be very different from what a client or an agency may think about it.

How do you reconcile the differing views?

I think that clients and agencies can reconcile it by narrowing down the key messages you want to send across and who you want to talk to. We've found out that it's best to research every single piece and have a good idea of what works and what doesn't.

WORD on the street has it that Stephen Fraser is one of the nicest men in advertising. O&M's Group Managing Director confesses that contrary to common expectations, he is sometimes nicer to staff than he is to clients. With the latter he is often blunt because he cuts to the chase and often tells them "There is no point in being a partner if all you want is a yes-man."

For someone who came from the servicing side of the agency, too much 'yess'ing both internally and externally compromises the creative product and his first advice to agency people is "You should never be a yes-man." Stephen spent q of his 20 years in the marketing communications industry with the Ogilvy group.

His management challenges include managing the Bahrain office of Ogilvy during the Gulf War, managing the Philippine office during two coups and managing the Korean office during a nasty economic downturn and in the face of nuclear, submarine warfare. ADOI tries to capture his lighter side in a recent interVIew.

How did you get into advertising?

I got into advertising because of women.

When I was a young lad doing a marketing degree and was cruising the social scene in London - chatting up women was the key thing. When you talk to a girl and if you say "I'm a lawyer" or ''I'm an accountant" what do you say next? But when you say, "I'm in advertising" people very often respond with "I really like that ad for ... " and that would lead to a conversation and end in an exchange of phone numbers. But seriously, everyone has a point of view about advertising and I found that exciting. When people talk about ads, they tend to be quite passionate and say "I really like that ad". That has nothing to do with the business per se. Sometimes those who are in the

Is advertising a job or is it a passion?

It's <)0% of my life (as my wife is quick to remind me) and the other 10% is golf so I guess it's a passion - I love the business. I love the people - they have creative, fertile minds, a sense of humour, and a streak of rebellion in them. I love good ads - good ads are like good music, good art, good books - they can make you smile, or laugh, or cry or give you goosebumps. I find it deeply, culturally rewarding.

O&M is one of the more awarded agency networks. What's your personal stand on this creativity vs. effectiveness issue?

The priority is to get the message across and build sales. However, bland advertising or safe advertising won't do that. And with all the media and the messages out there - if you don't make a point you're lost. Big logos, nice smiling faces just don't do it anymore. Today creativity is coming from real, consumer insights and people look at it and say "That's me!"

We don't go out to win awards, we go out to create impactful advertising and impactful advertising wins awards. The fact that around the region we have the creative side taking over management- in Malaysia Sonal's the MD, in India it's Piyush Pandey, in Singapore it's Andy Greenaway and in Indonesia it's Alan Couldrey. It's important to have the creative perspective in the agency business because if Cadbury makes chocolates and Unilever makes soaps, what we make is creative work - and that has to be the cornerstone in the business.

There's a lot of hot air about ex-MD Jeff Seow leaving- would you care to comment?

Jeffs gone to do some of the things that he always wantedlto do, he has a lot of different passions and he's gone off to pursue them. It was a mutual agreement that we came to.

Client: Pecronas Mororsporcs Agency: Leo Burnett Executive Creative Direcror: Ali Mohd Ar c Direcror: Eadie ]asli Copywriter: Izwar Zakri Agency Producer: Iskandar Siva Cinematographer: john Odgen Film Direcror: Brad Hogarth Producerj t ' AD: Sheen S. Singh Line Producer: Razlan Ramdan Pose Design/ 3D: MFX

PASSIONPICTUAtS

New additives for the Food Act 1983

By T. Sivananthi

Yasmin Ahmad

Edwin Leong

THE recently proposed amendments to the Food Advertisement Regulations 1983 affect the industry as a whole. These amendments include obtaining prior written approval of the Deputy Director-General of Health, Malaysian Ministry of Health, the DDG imposing any conditions as he thinks appropriate for the approval of an application, the DDG at any time, suspending or revoking any previously approved advertisement or amend the conditions for approval. Also the advertisements of infant formula are not permitted.

This clearly affects practitioners of the ad industry. It not only throws a cog into the wheel but it also gives the wrong impression that all ad agencies and all clients indulge in untruthful advertising to the detriment of consumers.

Is the MOH using consumer protection as a blanket reason moving towards greater regulation? We already live in one of the most regulated countries and discover everyday, that the more regulations there are - the more loopholes there are. It is possible to create other systems of checks-and-balances without resorting to a government body. Implementation will be another problem - this will only add on to the rules and regulations which further burden the industry plus the big question is - will bureaucrats be able to understand marketing strategies and creative executions? aDOI decided to ask around what some leading figures in the industry thought of this.

Edwin Leong, Grey's Creative Director likens the ruling with an apt metaphor "Just as the haze surrounding self-regulation clears, yet another vague, hastily enforced rule. The food and drink category is difficult enough without the whims of the MOH to figure out."

He articulates the concern that most have when he says, "On what basis will they deem an ad contentious? An unfounded emotional claim? That rules out three-quarters of the cat-

34 aDOI MARKETINGCOMMUNICATIONS

jeff Orr

egory and questions the heritage of some of our oldest brands. With due respect to the powers that be; I think it's daft - only because it assumes the consumer is."

Yasmin Ahmad, Executive Creative Director at Leo Burnett KL, points out that it is important to look after consumer welfare - "food advertising is indeed a tricky thing for the consumer. On more than one occasion, I've seen slimming aid ads that I felt were irresponsible and promised the consumer many benefits which I doubt they can fully deliver.

Restaurants too are notoriously deceitful with their food ads. What you get on your plate is rarely as good as what was shown on TV." This is an everyday experience for the man and woman on the street and for Yasmin "the so-called 'consumer' is not some faceless person out there. She's my mother or my daughter, and I DO care about food being advertised to them in as truthful a manner as possible."

Yasmin unwittingly demonstrates that not all agencies and advertisers are intent on making a fast buck off the consumers through false advertising claims. Some brands are very conscious about their image and product. Is it then necessary to set up an entire web of bureaucratic red tape to catch a few flies? Would it not be easier and more effective to start a public forum, for example, in a newspaper and conduct an ad watch? Wouldn't it be better to empower consumers to be able to do something other than just lodge complaints for example with Michael Chong of MCA. But perhaps most would take the course that Jeff Orr, Regional ECD of Grey, "The 4As and 2As are in consultation with the Ministry and I give full support to that. Proposals often remain just that. They hang in the air as a threat and sometimes that's enough to whip the recalcitrants into shape. I am hoping that sanity will prevail."

Technologyisjustnotenoughin todayâ&#x20AC;˘s fast-paced world.

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WORKSHOP APPLICATION GSTincluded I would like to apply for [Plea se" ~ "you r choice) ] Tomato Interactive Workshop by Tomato Interactive RM1700 (US$425)23th April: 2:00a.m.-6 :00p.m.; 24th& 25th: 9:00a.m. -5:00p .m. ] Programming the drawn line by Joshua Davis RM400 (US$100) 25th April : 10:00a.m.-5:00p.m. ] Not known until it starts by Digit RM240 (US$60) 24th April : 10:00a.m.-1 :OOp.m. ] Design and Application of a Super Hero and Isometric 3D environment

by Futurefarmers and Wireframe Studio RM400 (US$100) 25th April: 10:00a.m.-5:00p.m.

PAYMENT METHODS

By Cheque: Pay in US Dollars: Please mad e payable to : "Systems Design Ltd ."and mail to : Shop C, 5-9 Gresson Street, Wanchai, Hong Kong .

Pay in RM: Please made payable to: "Sledgehammer Communications (M) Sdn Bhd" and mail to : Sledg ehamme r Communications (M) Sdn Bhd, No 22 8, Jalan Tun, Mohd Fuad Satu, Taman Tun Dr Ismail, 60000 Kuala Lumpur.

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See you in Court!

BraiJ.d: Anlene Title: ]oget

Asneal< peel< into the legal briefs of the world's ad press.

Duration: 30 sees

Client: New Zealand Milk Agency: Foote, Coone & Belding Sdn Bhd Creative Director: SP Lee Art Director: KC Aui Copywriter: Ajay Bakshi Summary: Being old shouldn 't stop you from being active. Strong bones help to have fun in the twilight years.

BraiJ.d: Citibank Gold Card Title: Crash Duration: 30 sees

Oient: Citibank Agency: Dentsu, Young & Rubicam Creative Director: Cary Rueda Art Director: joseph Lee Copywriter: Tina Tan

Language: English/ BM/ Mandarin Summary: The n ew Citibank Gold credit card, gives you a higher credit limit for your needs and leisure.

BraiJ.d: Nestle Drumstick Title: The Tease Duration: 40 sees

Client: Nestle Products Malaysia Sdn Bhd Agency: Publicis Malaysia Creative Director: Hisham Sahudin Art Director: james Linus Teoh Language: English/ B. Malaysia/ Mandarin Summary: The ice cream is so deliciously tempting that everybody wants one but nobody wants to share it - not even with their own shadow.

Brand: Dumex 1+

Title: Flower Duration: JOsecs

Client: Dumex

Agency: Lowe Lin tas & Partners Creative Director: Chris Howden Art Director: David Sin Copywriter: Chris Howden Language: English/ B.Malaysia/ Mandarin Summary: Simple answers will not satisfy clever kids and Dumex I+ will make sure they get the best n utrition for their brain development.

BraiJ.d: Kentucky Fried Chick en Title: Kojak Duration: 30 sees

Client: KFC Holdings Agency: BBDO Creative Director: Hung Ean Hwa Art Director: Yeoh Oon Hong Copywriter: joseph Anthony Language: English/B. Malaysia Summary: Be a winner like Mr Kojak in the Scratch & Win contest. He won a h air dryer bu t you m igh t h ave be tter l uck!

BraiJ.d: Malay sia Mega Sale Carnival Title: Shopping Complex Duration: 30 sees Client: Tourism Malaysia

Agency: Naga DDB Sdn Bhd Creative Director: Ted Lim Art Director: Yip Chee Keong Copywriter: Kay Chin Language: English/B. Mal aysia/Mandarin Summary: When on a sh opping fren zy people often lose th eir children. But with the Malaysia Mega Sale Carnival, it is even possible to lose a h usband.

medioBonc For mol'e information please calllzza lsmail of MediuBanc ut 03-79836668

38 a001 MARKETINGCOMMUNICATJONS

THE wonderful world of adverts has never been immune from the sharp sting of the well-placed lawsuit or the alert ambulance chaser.

B&T in Australia reports that a Melbourne barrister called Len Lindon has demanded copyright status for animals such as the kangaroo and the emu as they have strong significance to the Aboriginal people. This evidently puts the Qantas flying kangaroo and the Commonwealth coat of Arms in some jeopardy from possible lawsuits. Says Len "Roman Catholics would be outraged if a stone building was used to market condomswhy should this be any different?"

Flying kangaroos as religious icons and all stone buildings as sacred to the Pope is stretching it a bit far I think. And airlines could hardly be compared to condoms (although, in fairness, I do sometimes feel they are liable to go bust while screwing me). All this is rather a pity because I felt Aussie 'animal' brands were past due for a renaissance.

Like Platypus Pies, Echidna Eczema Cream, Wombat Sanitary Napkins, Kookaburra Creme Brulee, Witchety Grub Indigestion Tablets and Salt Water Crocodile Washing-up Liquid. Oh well! But on the upside, this could start a trend. Perhaps Malaysia should be copyrighting the orang utan, putting the sponsors of almost all ASEAN sporting events in the way of litigation. And the Zulu nation could copyright the African lion and India the Bengal tiger, so Tiger Balm, Tiger Beer, Lion Toothpaste and a zillion other brands, not to mention most of Europe's royal families, would be in trouble. And, of course, as usual, the Americans will copyright absolutely everything in the world. I can't wait.

Talking of American law and in a more serious vein. Adweek reports that, in an unusual turn up for the 'books, Lorillard Tobacco Co., makers of Kent and Newport cigarette brands, is threatening to sue the American Legacy Foundation, the outfit set up to combat smoking in the USA. Lorillard want the ALF to tone down their anti-smoking ads.

They claim that "Rather than focus on the products themselves, in large part the message of the campaign is that the participating manufacturers and their executives are dishonest, deceitful, callous, malicious or otherwise unscrupulous." The TV spots in the campaign they are talking about were mostly shot as they happened, guerrilla style. One film called "Body Bag," was filmed outside of Philip Morris following a group of teens as they unload a truck filled with body bags, stuffed and weighted to look real, and pile them around the building while actual cigarette company employees look on. The teens then proceed to taunt the workers.

Another spot featured teens, armed with spy-cams, confronting tobacco executives in the lobby of Philip Morris and in their home neighbourhoods trying to guilt-trip the execs about the blood money they have earned working for Big Tobacco. The campaign titled "Truth" was in fact Adweek's choice for Best Campaign of 2000. (In a strange coincidence one of Lorillard's brands is called 'True'). This does throw up rather an interesting question. Are these kinds of tactics ethical, do the ends (possibly fewer people smoking) justify the means (humiliating and embarrassing other people)? Tough one eh. Still my money's on the lawyers again.

By the way B&T also says that Coca-Cola South Pacific are about to launch a new flavour of Powerade called Wallaby Gold Rush in honour of the Wallabies, an Australian Rugby Union team. Hopped straigh t into that one chaps. Go get 'em Len.

PS Check out http://www.lorillard.netj it's a doozy.

Directing Filn'l & Television seminar & conference

3rd - 5th MaY 2002 Multimedia Unhtersity, Cyberjaya, Selangor, Malaysia

BUSINESSTRENDS

BBDO's War Cry! BBDO has sounded the war cry. They will be adopting a slightly military stance in what they perceive to be a marketing battle.

Recently the agency had a one-day special forces camp - 'Camp Dungun'. It is far too easy during these uncertain times for people working in agencies to be faced with flagging morale and the management of BBDO took the opportunity to boost the spirit in their staff. They thought it was about time to boost morale and impart the right attitudes to the staff at all levels. Amongst the steps that the management hopes to implement is to reward staff according to performance. Another is to empower them with the idea that being creative is the function of every person within the agency and not only the creative department. A third step would be to re-name the account servicing department as account management.

For this camp, the BBDO Asia Pacific chairman Raymond So and deputy chairman Tom Kao were in town to marshal their troops. Both Raymond and Tom had worked closely together at different agencies. Their one aim at BBDO is to make the agency network the number one creative network in the region. According to them, BBDO has the perfect set-up to handle regional accounts. One example is the current Visa commercial with Zhang Zi Yi - which saw servicing being handled by Singapore, creative by the Philippines and post-production by Hong Kong. There was also creative input from the other agencies within the network.

Decoding the strategic planning function in Communications

By Kapil Sethi, Director of Strategic Planning, Bates Malaysia.

THE latest buzzword amongst agency/marketing professionals in Malaysia, strategic planning has actually been around for approximately 40 years in pockets around the world, but it is really only in the last decade that it has risen to a mainstream communication function in the Asian region. This article attempts to articulate the raison d' etre for its existence and growth, and how best to use its output productively.

In order to counter the inherent dichotomy within the agency system between the pressure to get clients to spend more and the need to dispense objective communication advice to clients, agencies employ strategic planners as a relatively autonomous function answerable only to consumer truths. Simply put, planners are the consumers voice within the advertising/marketing fraternity employed by agencies to take on the emerging threat of brand/marketing consultancies.

4oaDOI MARKETINGCOMMUNICATIONS

Typically with expertise in both marketing/communication and behavioural sciences, planners attempt an increasingly difficult marriage between the talkers (marketers and advertising) and the talked to (consumers), basis their allegedly superior expertise in decoding deep consumer insights.

Of course, the current reality within marketing/advertising/research in Malaysia is that what passes for consumer insight research is really demographic bean counting with some "qualitative feel" rubbish thrown in which is as useful for brand strategy formulation as the dodo - given that today the single largest problem facing marketers is creating brand differentiation in almost complete product parity situations in practically every category.

In reality, the challenge is to find ways of creating a lasting connect with the consumer through appealing to fundamental human and

cultural motivations. The process in uncovering this holy grail-a creative brief that accomplishes this marriage in a creatively breakthrough way- involves a lengthy procedure encompassing all the marketing and behavioural functions.

Drawing on sociology, psychology and cultural anthropology at one end of the spectrum to market research, statistics and marketing theory at the other, planners need to get involved in a constant struggle to firstly understand why people behave the way they do, and secondly how to use this knowledge to help craft communication that relates the brand to this understanding.

Effective brand strategy based on deep consumer insights as well as genuine market understanding is the only way today to deliver creative output that is not just aesthetically pleasing, but ultimately profitable in a sustainableway.

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Media Skills Workshop Starring D.SRIRAM CEO, South East Asia & India, Starcom WorldWide Sriram's advertising career spans n years, 3 countries and the disciplines of account management and media. Sriram started off in Lintas India and Rediffusion DY&R. In 1995, Sriram moved to Madison DMB&B as Director of Media Services, in 3 years at Madison DMB&B, Sriram built a formidable media department that grew media only business by 400%. In 1998, Sriram moved to Hong Kong to run MediaVest HK/China, MediaVest won an AOR for Mars in HK/China and another for Coke in Hong Kong. With the merger of Starcom and MediaVest starting in May 2000, Sriram moved on to oversee strategic planning on P&G for Starcom across Asia.

VISHNU MOHAN Managing Director, EURO RSCG Partnership, Singapore Vishnu started his career in advertising with DY&R Bombay in account management. His liking for media often led him to lead a dual role - as a client-servicing person and as a media professional. In his media capacity he established "Precision Media"- a technology cell for DY& R as a planning specialist firm in India way before the big media specialists names entered the market. Vishnu moved from DY&R to Saatchi & Saatchi, India in 1994 to become Director, Strategic Planning. He next came to Euro RSCG Singapore in 1995. Starting in a media role, he continued to head the department until mid-1998 when he switched to become Executive Partner and kept getting promoted.

Date: Time: Venue:

April19 & 20 2002 9.3oam - 5.3opm Eastin Hotel, PJ.

)fficial Magazine &Event Organiser:

ao I

HOTHAPPENINGS

GETTY IMAGES

Winners Skywalkers posing with jer'Y Goldberg.

Bozell's Dharma, Sheila and Bob with ]eny.

DY&R's CalJ' Rueda, Cheok, Ong, Rishya]oseph with NYFests' ]eny and Peter along with our turbanned friend.

NYFests' Peter & ]eny.

Ashari (Air Time Services) and the man himself.

Getty Images' Sharon & Magdalene enjoy their coffee.

Batey's Elmo Lee & DY&R's Carey Rueda.

New Vorl<! ¡New York!

By Rodney Louis Vincent ¡

ON the 8th of March 2002, Jerry Goldberg the President of the New York Festivals was in town to give a talk, courtesy of Getty Images.

He illustrated the dynamics between creativity and marketing effectiveness through international award winning ads and campaigns utilizing all media. jerry also, shared his opinions, insights and the knowledge he has accumulated in 23 years of organizing award competitions with the attendees, with the objective of improving the winning ratio of Malaysian entrants. His talk covered Creative vs Eff-

42 aDOI

MARKETINGCOMMUNICATIONS

ectiveness and Tips on winning international awards.

"Awards are the career lifeblood of up and coming creative professionals, it is their ticket to bigger and better jobs and more important assignments. Awards are equally important for companies like advertising agencies, production houses and designers who depend on third party endorsements to gain new clients and reinforce relationships with current clients" quoted Jerry.

The event was also held to recognise award

winners oflast year's NYFests who were yet to receive their awards. They were Skywalker TV Facility House who won a Bronze WorldMedal and finalists - Television Airtime Services and Bozell Worldwide.

According to Jerry in 2000, there were 56 entries from Malaysia to the NYF, ro were short listed while there was I Silver, I Gold and I Grand Award. Last year the number of entries remained the same with I Gold, I Silver and 2 Bronze medals. Three of those were won by Dentsu Young & Rubicam, Malaysia.

As global marketers and communications specialists take advantage of the changing media landscape, ACNielsen helps them monitor, analyse and furn ish up-to -date insights into changing consumer behaviours.

Having crossed the threshold into the 21st century, the immediate future focuses on the upswing of economic growth. ACNielsen is right there to help you bridge the divide of constant change, empowering you to make the paradigm shift and excel w ith the new media matrix.

See you at http://www. acni e lse n.com/my

Media International AC Ni e lsen (Ma laysia) Sdn. Bhd . (10909-v) 19th Fl oor, M e n ara MPPJ, Ja l a n Tengah, 46200 Peta lin g Jaya, Sel angor DE, Malays ia. http :// www.ac nie lse n .c om / my Te l: 603-7626 3878 I 7626 3874 or fa x : 603-7958 6578 Em a il : ac nm s i a@ac ni e lsen .com. m y