Adoi Malaysia 2002 December Issue by Sledgehammer Communications (M) Sdn Bhd

DECEMBER 2002

KDN NO: PP 9995/712001

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DECEMBER2002 REGIONAL PUBLISHER Harmandar Singh aka Ham EDITOR Nathan Conrad WRITER Michelle Fernandez DESIGNER Eric Ch un Fauzi Hamid CONTRIBUTORS lance Dewey MeAbdullah leonard Tse Alice Freeman OFFICIAL PHOTOGRAPHER Jen Siow/Jen Studio PRINTER Far East Digital Prints COLOR SEPARATOR DigiScan Services Sdn Bhd 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 Satu, Taman Tun Dr. Ismail, 6oooo, Kuala lumpur, Malaysia. Tel: 603-7726 2588 Fax: 603-7726 2598 E- mail: ham@pop.jaring.my

Notes From The Editor Was it possible to have missed the recent and ongoing blast of TVCs and print ads from the Council of American Muslims for Understanding (CAMU), a private, nonprofit organization based in the United States? The campaign features a number of American Muslims sharing stories about their lives in America -a teacher, paramedic, a baker etc. According to the CAMU, the campaign, launched in May 2002 is intended for use in Malaysia, the Philippines, the Middle East and other parts of the world. It was founded in direct response to an outpouring of support from the American Muslim community after the tragic events of n September 2oor. The campaign "represents a number of American Muslims from diverse backgrounds, who have come together based on their urgent desire to find ways to help bridge the gap of information and understanding between the Muslim world and the United States," says the official website (http://opendialogue.com). "Development of the short form documentaries and related materials," the site says, "Was funded by the US Department of State, in collaboration with CAMU, as part of a broader State Department public diplomacy effort that seeks to engage American and Muslim societies in a more direct dialogue." Not surprisingly, there's been a considerable

amount of backlash from many in Malaysia, who are offended by what they claim is an overt use of slick Yankee propaganda at a time when the US and UK are poised to unleash a massive attack on a defiant Iraq. Perhaps this reaction is legitimate. There's something that's a bit slimy and smug about the scope and delivery. But I don't think we should let that cloud what is really a positive message. The campaign may aim to accomplish larger US foreign policy goals, but on the surface this is a story about people - a story about religious and cultural freedom in the most religiously and culturally tolerant nation in the world. Before we continue to criticize this campaign en masse, maybe we should step back and take a moment to look at this for what it is - real people and real stories. Now what's wrong with that? Let us take this opportunity to offer the best in holiday wishes to you and yours. Whether your partyof-choice is Hari Raya, Christmas, Hanukah, or even an early Chinese New Year, what matters most is that you're celebrating ... the end of one fantastic year and the beginning of an even better one. Enjoy the issue.

aDOI What's hot in this

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ISSUe ••.

Highlights Chris Howden: Whispers With Sheep Julie Lingan: Christmas Carols Circa 2002 Dean Johns: The Spice of Life Zayn Kahn: Planner as Architect Paul Loosley: Do It Raya.

10 10

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Interactive Josh Sklar: Sure You Can... But Should You?

Direct Marketing Kurt Crocl<er: Back to Basics -The Anatomy of a Letter

Member of

Features/Revievvs lluditBurnuofCirculations

Communications (M) Sdn. Bhd. No part of this magazine may be reproduced in any form with· out prior permission in writing from the publisher. While every effort has been made to ensure the accuracy of the information in this publication, the publisher 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 represent the views of the publisher or editor. Advertisements are the sole responsibility of the advertisers.

FCB Study: "Trust No One" The Gunn Report 2002 1V3's Navonil Roy: Medium is the Message Kwik-e-Card Comes On Strong

18 20

Exclusive lntervievvs Cover Story: Ahmad Sean Sulong Leo Burnett's Lim Oon Soon Fortune's Clay Chandler and Robert Friedman

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aDOI MARKETINGCOMMUNICATIONS

Cove

It's like the Malaysian version of Easy Rider. With M$30 hidden in the handlebars of his bicycle for safe keeping, a teenager and two friends set out in 1969 to pedal from Banting to Penang and then on to the Thai border town of Padang Besar. Along the way, the trio eat with and at night bed down in mosques, houses, or in particularly law-abiding towns, empty police lock ups.

This incredible journey was something of a turning point in the young man's life. Up to that point, he was shy, almost painfully so. But during the course of that epic journey, he was forced by circumstances to break through that awkwardness. Down came the barriers of comn. In just a few weeks, Ahmad Sean g from Kampung Labuhan Dagang learned to hold his own when confronted with the unfamiliar, the unexpected, and occasionally, the uncomfortable ...

CoverStory

This still is from a documentary on the making ofgendang

McDonald's Chinese New Year ad (Singapore) won a Bronze Telly Awards 2002

This Environmental Educational Animation was created for ASIA/PACIFIC CULTURAL CENTRE FOR UNESCO in japan

This TVC for Westport won a second place silver at the Screen Awards US International Film and Video Festival

A still from Mannspider - Lensa 's multiple award winning featurelength animated movie

"Even after all these years, _it's still amazing to see even th

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aDOI MARKETINGCOMMUNICATIONS

When the young man from Banting arrived at Institut Teknologi Mara in 1969 soon after his marathon bicycle journey, he was pleased to find that the chairman was exempting art and design students from the draconian regulations prohibiting male students from keeping their hair long. And if being called upon to draw and paint Uni signage and vehicles was the trade off for such follicle freedom, then so be it. What more could a young artist want in 1969 besides long hair and a paintbrush? Plenty it would seem. 19 years earlier. It's 1950, and a proud new father has gone to register his son's birth at a a Banting police station. The mat salleh sergeant manning the front desk hasn't a clue to the jawi name that's put forth for the new arrival. He asks Âˇhis trusty Malay constable, to spell the name 'Shayan'with Roman letters and somehow 'Sean' is the end result. And, the story goes, the colonial cop had some Irish in him and was impressed with the choice of name. By the time Sean Connery began his 007 exploits on the silver screen a decade later, Ahmad Sean Sulong had transferred to an English school, been properly informed of the western pronunciation of his name, and fully understood how stylish it was to share a moniker with someone as virile and silky smooth as the James Bond portrayer. Sean the Malaysian was going to run with this name thing. "As a graphic design student at ITM Mara, did an internship at SH Benson - now Ogilvy & Mather," Sean remembers. "I was always sneaking into the darkroom to hang out with the photographers. I'd say that's where my real passion was." His big break came when Jeffrey Fry, the then creative director of McCann-Erickson introduced him to Tony Hope, a British film director from Hong Kong who was starting AdPower in KL in the early Seventies. "Jeffery took me down to the Merlin Hotel and got me a job with AdPower for M$300 per month. I started loading the cartridges

CoverStory

well-known piece of work won Telly Award and a 2002 Gold Award

A still from the saya@tv -a kid's TV programme

Capturing multicultural Malaysia: a scene from Fiesta Tari, a Bronze winner at the 2002 Telly Awards

Kacang -a 3D-animation project

Putrajaya is featured in this marketing video for a property exhibition in France

ost timid of revolutions in the eyes and minds of my staff." and for the next three months I slept in that hotel room organising equipment for the shoots." Tony ended up arming Sean with an 8mm camera and set about training him in the finer aspects of capturing a moving image. Sean says he was on cloud nine. "Here I was learning all of these new things and doing what I loved best. Because of the thick mat salleh accents, I could only catch about half of what these guys were telling me. But I learned quickly." When he left AdPower in 1978 to set up his own shop, a number of staff followed him, as well as a few clients - the foundation for what would later become the 30-staff strong Lensa Film. "Two of those staff are still with me today," Sean says proudly. Lensa Film has come along way from that first year when filming was done in an outdoor studio complete with an Angsana tree for a roof. Although live-action filming would prove to be a mainstay of the Lensa Film portfolio, it was soon evident that if Sean was going to make his mark it was going to be in the relatively new field of animation. In 1978, there were no other locally based animators to speak of, so most of the KL-area commercial work flowed his way. But his animation department really took off when the Japanese came a calling a few years later. What would follow for Lensa was over 20 different animation series, including Transformers, Dragon Ball, Slamdunk and A taro. Recently, Sean and his team completed Mannspider, a feature length animated film. A real milestone for Malaysian cinema, the science fiction thriller has yet to be released, buts Sean promises that eventually it will make its way into the cinema. Currently he's negotiating a multi-language distribution deal that should see the film released on several continents. "Mannspider was never about making

money," Sean explains. "We've already sent it to the Universities to let the students have a look. They can criticise or say whatever they like. The most important thing is to get students to understand the process of creating an animated movie from the top to bottom. Then they'll be able to go out on their own to do it themselves." The best part of the experience claims Sean, is the feedback they've received. And although Sean is shy to brag about it, Mannspider trailers have won awards at film festivals in London, Chicago and Hiroshima. Sean says the mostly self-financed movie is a perfect learning tool for students. "We have a 13-episode 'making of' series which is a great reference for multimedia students." As an employer, Sean is an utter supporter of higher education, as demonstrated by his close relationship with Multimedia Universiti. But he's also quick to point out that creativity and the ability to interpret ideas overshadows almost any paper qualification. "When I was expanding my animation department years ago, I interviewed a bunch of artist types from the Pasar Seni area of KL I selected the promising ones and trained them in the craft." "We've had comic artists that have lasted only two weeks as animators. They just didn't have the patient or endurance. Animation demands meticulous consistency - not an easy quality to find ." "There's a perception that creating animation with a computer is kacang - like peanuts," Sean says. "But what you're talking about is 3-D guys, film crews and animators all working together. And communicating that's the key part." While some may shoot a background using a live set, others may be working on character animation and the big question is, 'Will it all come together?'" "The biggest factor in multimedia or maybe any form of education is practical experience and training - not only understanding the theory but seeing it in action."

"You animate what you can't shoot. The idea is to create or duplicate something from life - or beyond life. But if you are simply trying to recreate live action, you might as well shoot it live." "How do you shade a coconut tree in animation if you've never actually seen a coconut tree in the forest?" Sean asks in total seriousness. "If you want to draw trees in animation, then go to the jungle and look draw or take pictures or whatever." "If you just read books - you'll never get it. If you don't feel it or see it, you won't understand it well enough to animate it. And it precisely that kind of creative empowerment that has kept Lensa Film incredibly tight and cohesive and at or near the top of it's game for 25 years. "We've built Lensa Film on trust," Sean says. "I challenge, utilise and appreciate my staff's creativity and inspiration. When you can achieve this, people will not leave you. They might for a period, but then they come back. They realise they can not apply the same levels of creativity in other places." "We give a certain amount of creative freedom here - I am a very transparent manager and businessman. And I see that the staff can relate to that. And in all situations, I expect the same levels of transparency and trust in my own staff_ If I walk into the studio and a guy is sleeping, then I would expect him to continue his nap rather than snap to attention just because 'the boss' walked -in the door. I mean, if the guys is tired, let him sleep." "Even after all these years," Sean says, "It's still amazing to see even the most timid of revolutions in the eyes and minds of my staff_ When people want to get involved and improve something even further, that's when you know the fire inside is burning strong." "When you've got a cameraman making creative suggestions to the sound guy about the bass line in the music score, then you know that you have people that are dedicated to their work." ti)

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aDOI IU ASIA PACIFIC Malaysia New Business Scoreboard August to November 2002 RANK THIS MONTH

RANK LAST MONTH

AGENCY

MAJOR WINS

ESTIMATED BILLINGS (RM'ooo)

MAJOR LOSSES

OVERALL BILLINGS AUG TO NOV 2002

MAINSTREAM

2 3 4 5 6

(3)

Grey Global Group

(2) (4)

Bates BBDO Rapp Collins

(NIA)

First Mobile Group, Mitsubishi/Citroen/Ssanyong, Hugo Boss (project), Tops marketplace (project), Fairlane Hotel Parkson, others Guthrie UOB, Gamuda Bhd, Swiss Re Pfizer (Viagra), Celcom PrePaid Bernas Rice, Sony CyberShot TetraPak

15,500 6,000 3,800 3,500 6,500 1,300 1,000

Mindshare OMD

Unilever Sara Lee, Guthrie

44,000 13,000

Zenith WMD (TBWA)

Toyota Australian Tourist Commission

10,000 2,500

(5)

JWT

(7)

Leo Burnett D'Arcy

(8)

Shell BTL

IKEA, Red Bull

14,500 6,000 3,800 3,500 2,500 1,300 1,000

MEDIA (1) (2)

(NIA) 4

(3)

44,000

Australian Tourist Commission

10,500 10,000 2,500

AS expected, fasting month proved to be a quiet month for new business activity. The First Mobile Group win for the Grey Global Group has kept it at the top of the ScoreBoard. The big mover this month was Rapp Collins with some impressive CRM wins from UOB, Gamuda and Swiss Re. Amongst the media independents, we h ave captured Zenith's Toyota win from August (again, if agencies can verify wins since 1 August, we will add these to the table). With just one month to go, it seems clear that Mindshare's exceptional Unilever win will leave it in first place for August through December. tD

Greg Paull Principal, R3 Asia Pacific The New Business ScoreBoard is compiled monthly on behalf of ADO! magazine by R3, a consultancy specialising in agency relationships, remuneration and reviews. All billings figures are annualised and are calculated based on R3's estimates, adjusted from AC Nielsen AdEx figures or derived from agencies directly. Agency losses as well as wins are recorded, if not shown. We attempt to accurately capture all new business activity in Malaysia - please email greg@rthree.com if you believe we have missed or incorrectly recorded any information.

4A's Workshop: ''How To Implement A Fee System" THE 4A' s hosts a workshop open to member agencies and senior clients on under st anding and implementing a fee based agency compensation system. The workshop will feature three ~peakers who will talk in depth about the different facets of agency fees: David Beals, CEO of agency compen sation pioneer Jones Lun din Beals, Raymond Ng, MD of Saffron Hill Research Asia, and Greg Paull, principal R3 Asia Pacific, who will speak about payment by results. Suggested pre-event reading: "Ad Agency Remuneration - Global Best Practices In Fair Remuner ation" - published by the 4A, copies are available at RM2o each. Call the secretariat (603 y66o 8535). Leo Burnett did this poster for the Just Date, time, venue: 23 j an uary 2003, Diamond Sale print campaign in Hong 9:3oam to 2pm , Prince Hotel, ]alan Con- Kong. Launch ed in 1994, Just Diamond lay, Kuala Lumpur. Seats, refreshments and its sister brand Just Gold are and the luncheon are free . Book early by credited with repositioning diamonds as calling 6o3 766o 8535Âˇ a simple fashion statement in Hong

-:lnnl

U ADIII:TIUt:rnuuiiNI(ATinNe>

English Translation for copy: No time for dates on e m onth a year Wom en's privilege #r2 just Diamond Sale Now On

Kong. Leo Bur nett picked up the business last year. Creative cr edits include group creative director Connie Lo, cr eative director Ray Lam, senior art director Miranda Shing, and senior copywriter Mabel Lee.

HARD on the heels of its much acclaimed Telecom ad - Fax, Saatchi & Saatchi, Wellington have produced yet another evocative commercial, Heartscan. Once again they have enlisted the skills of director Gregor Nicholas from Flying Fish to tell the story. The scene, this time, is set in Shanghai and New Zealand and depicts a New Zealand architect working in China whilst his pregnant wife strives to stay in-touch. AB well as emailing scans of the growing baby - she scans her hand and sends it to his screen. In a poignant

ending, the husband presses his hand over her image. Perhaps at 75 seconds it's a touch indulgent, but the film craft of Nicholas combined with an equally emotive track from Fastball makes it a world-class act. It may not have the edge and innovation of its predecessor but it certainly keeps Saatchi & Saatchi, Wellington in the limelight. With agencies like Colenso BBDO and DDB doing their best to steal many of the creative accolades recently, Saatchi certainly needs to show it still has its creative Midas touch. ~

Agemy- Saatchi & Saatchi New Zealand Client- Telecom New Zealand Limited Title- Heartscan (duration 75 sees) Art Director & Copywriter- Gavin Bradley Agency Producer- Olivia Woodroffe Production Company- Flying Fish NZ Director- Gregor Nicholas Production Company Producers - Elly Toft & Mark Mathews Editor- David Coulson Lighting Cameraman -john Toon Post Production Company- Digital Post Music- Fastball "This Guy's in love"

Christmas Carols Circa 2002 by julie P. Lingan

Woe to the world the word has come let earth receive the bomb ... Or how about this? Violent night/hole-y night/ all be damned/at the sight. Merry Christmas, though it is the winter of our discontent, no matter which side we're on. Those waging wars have reasons for their volcanic angst, openly airing their hostile grievances. Those advocating peace say for god's sake, please respect the season. (Well, if it's any consolation, war has been postponed at least for now. From the month of St Nick to that of St Valentine). While iridescent pristine snow will fall softly on brightly lit homes where children await the gift-bearing man in red and the scenario will again be classic Norman Rockwell, nothing is sacred anymore. Even religions are brandished about like advertised commodities in a department store. The sanctity of prayer has been commercialised into cosmic proportions, it has become easier

::lOOI MARKETINGCOMMUNICATIONS

to come across a highly charged group worshipping as though in a trance, than to see one whose head is bowed silently in a deserted corner of a place of worship. Media has been hyping hate with its yellow journalism. More crimes rather than good, boring deeds are sensationalised on TV. The more heinous, the better. We all seem to have become vampires who thirst for blood in newspapers and much as we cringe at the gory details, we are altogether addicts who get our fix the deplorable way. If there's one thing constant that I love in life, it's the ritual of singing Christmas carols. And no matter what happens- we grow up; we love, hate and leave school; fall in and out of love and die a thousand deaths; live in the office; create and procreate; bury loved ones with half of ourselves; grow up some more and bleed - we sing the same Christmas carols we grew up with at the end of every year. But this Christmas is different. While every passing year has added deeper meaning, beauty and sentiment to the carols in accordance with the ever-changing tapestry

of our lives, the singing mood this time is altogether different. The threat of war is hanging, as Shakespeare would say, like a dagger over our heads. Sure, we've faced wars before. We have been on the warfront at pitches that left our innards inside out. We have been hit by bullets that disintegrate not bodies but souls. We have been crippled by psychological scars that will never heal. But we somehow always bounced back, shaking off the dirt and dust from our mortal souls. Indeed, all our lives, our wars have been fought on an imitation of life battleground, not on a reality plane. If we don't like the outcome, we shoot again and again until we get it right. We emerge not only victorious but shining in glory. Glorified lives and wars, the kind we've been used to in our blessed industry. The way we want it. Not the way it really is. If only the threat of war weren't as real as love on Christmas day. If only. Then our Christmas carols this year wouldn't be so painfully off-key. ~

rum

Larry Oalmer's new bool< traces the history of comedic radio commercials LIKE clockwork, new advertising books continue to roll off the presses. Larry Oakner's new text, And Now a Few Laughs from Our Sponsors is about so years of some of the best radio commercials in advertising. The book speaks of entertaining and hilarious radio commercials that made radio advertising an important medium in brand building. Oakner traces the roots of radio advertising, where interestingly, funny radio ads were not so welcome. Comedy was rejected and abject seriousness embraced. How that changed is all here, including a few gems that can be considered the birth Title: And Now a Few Laughs from Our Sponsors of witty radio. This book includes a CD-ROM THIS recruitment ad from McCann Ericksson Author: Larry Oakner containing the ads from the book, so that Vietnam in Ho Chi Minh City was a finalist at Publisher: john Wiley & Sons, Inc. the recent London International advertising Price: RM9s.Bo you can read, listen and laugh. ~ awards. The ad was the work of executive cre---------------------------------------------------------------------4 ative director and copywriter Kathleen Mojica, art director Dingdong Baes, and print producer

Want aJob in Vietnam?

To be aTariKi ng ~;;t~Moves

CARAT MEDIA has recently announced that Mike Langton assumed the CEO position of Carat Malaysia effective 2 December 2002. Langton was formerly the CEO of Carat Singapore. Founder and existing CEO of Carat Malaysia, Margaret Lim will now become chairperson. Margaret Foo, who runs the Philips account for Asia Pacific, will take over as CEO of Carat Singapore. Carat has also appointed Kim Walker as Asia-Pacific COO. Walker was previously the regional director for Japan and Korea. He will continue to ~e based in Japan. ~

Grape and Lowe Team In l<orea BESIDES being genuinely 'sweet', F&N Dairies' Cabaran TariKing 2002 TVC campaign also bagged four awards at the recent Kancil Awards. "Garden" and "Bath" won bronze while "Handwash" received a merit. As a campaign, the three won bronze. The campaign was ere-

ated by DDB International to encourage participation to F&N Dairies' annual teh tarik championship. F&N holds a 48% share of the sweetened condensed milk retail market in Malaysia and was recently named the country's top brand family by AC Nielsen. ~

GRAPE COMMUNICATIONS and Lowe & Partners have concluded an affiliation agreement, which extends Lowe's reach into Korea. Soo Sam Chae, CEO of Grape Communications, and Ian Creasey, president of Lowe & Partners Asia Pacific, agreed to collaborate on the servicing of Lowe's multinational clients in Korea, global knowledge management, new business development and networking. Creasey said Lowe looked extensively for a suitable partner before moving forward with Grape. "We found Grape's energy as well as established creative reputation most appealing," he said. Chae commented that many of his Korea clients are seeking an international perspective "In this regard," he said, "Our new relationship with Lowe will benefit them." Grape Communications, previously known as Diamond Bates Korea, is the largest independent advertising agency in Korea with multinational clients such as Unilever, Chanel, AIG Life, Ballantine's and HSBC. ~

aDOI MARKETINGCOMMUNICATIONS 13

DirectMarketing

Bacl< to Basics

The Anatomy of a Letter By Kurt Crocker, Creative Director, Drayton Bird, Crocker & Mana Sdn Bhd (DBC&M)

AFTER many months of my usual ranting, I figured it was high time I got back to some fundamentals. This retro intention was inspired by a direct mail pack I recently received from a "major telecommunications company." I use my mobile phone a lot, so I will not reveal the company name. But it's one of what is it now- five? So you figure it out. Anyway, the mail pack found its way to my in box. Innocuous enough, with the usual elements: outer envelope, brochure, registration form and letter. Unfortunately, being innocuous is no substitute for "sell", and absolutely intolerable if Harmless = Boring. And the letter. The most important element of any direct mail pack. To begin with, they personalised my name in the salutation, but included my middle name. Hardly any real person I know refers to me as "Dear Kurt Douglas Crocker" - with or without the proper ending comma they omitted. My gawd, I'm ranting again. I guess I just can't help myself. The entire tone of this letter was studiously passive. It read as if the writer was half asleep, droning the recipient (in this case, me) into his state of semi-consciousness. The beginning of a letter, for example, should evoke the silent response, "Oh, that sounds interesting" rather than "It's time for my nap." It would have helped the writer to know that, while letters are not advertisements, they can be structured using that time-honoured "great ads" formula: Attention, Interest, Desire, Conviction, Action. The all-important first paragraph should command "Attention". According to the coeditor of "Million Dollar Mailings", most letters in the US grab attention by appealing to flattery, or greed, or both. This can be accomplished by a number of techniques. By stating some important news, or a startling statistic, or humour (tricky, but it can work) or by telling a story (even trickier). But whatever technique is used, the beginning of a letter must get to the point quickly, in a very interesting manner. A easy tip: Half your problem will be solved if you use short words, short sentences and short paragraphs.

14 aDOI MARKETINGCOMMUNICATIONS

The afore-mentioned offending letter began with a sentence that contained a mindnumbing 33 words. But enough of the wrong way. Let's examine a letter that does it right. It's one of my all-time favourites, written for The American Film Institute (AFI membership/ magazine subscription) by (ostensibly) Francis Ford Coppola. Unfortunately, I can't share the entire letter. It's four pages long. And don't give me that crap about "no one reads long copy". If you're talking to the right person - in this case, film lovers - in the right way, you can sell from salutation to signature no matter how long the damn thing is. AFI's letter begins with a "johnson Box", a headline area of copy that's usually above the salutation. And, my what a surprise, it appeals to flattery:

You are one of a select group recently nominated for National Membership in the American Film Institute. Then, the beginning:

Dear Mr Crocker, A darkened room, a parting curtain. Even now - after years in the profession, after directing The Godfather and Apocalypse Now- the opening moments of a movie never fail to cast their spell on me. That's why I'm delighted to invite you to join a group of people who want to be closer to, and better enjoy, an art form that touches all our lives. Is that great, or what? A short story, with a compelling image. Then a second paragraph that gets directly to business and benefits. The next few paragraphs are "transition to detail," where Attention shifts to Interest and Desire:

Your n ew membership in The American Film Institute will put you in this picture. .. an insider to the exciting arts and dynamic

industries of film, TV and video. On behalf of AFI's Board of Trustees, I need to hear in the next ten days if you will accept their special nomination. But first, let me tell you about some of the many member benefits they've already reserved for you: Then the details begin. Invitations to film screenings, generous discounts, reduced-price admission to AFI Theaters, and of course, a subscription to American Film Magazine. Page two and three are devoted to Desire and Conviction, with more details about the magazine and AFI's film preservation activities. The urgency of saving rare movie prints is written about in stunning form:

With your support, we can save the magic moments of Gene Kelly's Singing in the Rain, and Fred Astaire dancing in Swing Time. Bogey coming face to face with Bergman, judy Garland on the road to Oz, even Lucy . and Ethel stuffing chocolates in their uniforms as the conveyor belt speeds by. And page four is all action. Quick reminders of key benefits. A review of the cost of membership, and all that it includes. A note that membership is offered at an exclusive rate. My only quibble: No re-mention of the sender's request to respond within IO days, though I suspect that's because they'll solicit again if there is no response. From start to finish, this is one helluva letter, and could easily represent a benchmark for any letter written for the purpose of sales. And some food for thought. There's a lot of crap delivered in the mail, truly "junk" by anyone's standards. But the same can easily be said about e-commerce mail, including the stuff that's sent by request from a website. Wouldn't it be wise to remember the basics, and send more e-mail that follows the form of a great sales letter? ~

Thank-you, Toyota, for making the Golden Kancil possible.

SAATCHI & SAATCHI

Focusing on the East National Panasonic Launches New Corporate Campaigns in Sa bah and Sarawal<

Launch of the Sa bah Corporate campaign

IN a move intended to significantly increase its presence in East Malaysia, National Panasonic recently launched corporate campaigns in both Sabah and Sarawak. According to National Panasonic Malaysia managing director Jiro Tomotani, RMsoo,ooo has been allocated for both campaigns. "Our business strength in both Sabah and Sarawak has always been our dealership networking and good after sales service. With our authorized service dealer revitalisation in progress, we are further strengthening our customer service. The corporate campaigns, believed to be

... ..... ~

A complimentary copy of Barney's new showcase for guests that arrive that day.

Launch of the Sarawak Corporate campaign

the first of their kind in East Malaysia, are based on a concept which supports dealers, while "touching the heart and souls of the local people." The campaigns will also be the platform for all future advertising and promotional activities. "These campaigns show that National Panasonic Malaysia is sensitive to the values of East Malaysians. This is in line with the Matsushita philosophy of 'Contribution to Society'," Tomotani added. National Panasonic Malaysia has operated in Malaysia since 1976. It has over 100 authorised dealers in East Malaysia. ti)

BARNEY.STUDIOS recently had an interesting get-together to showcase the images it has produced over the year. No doubt the studio has built its reputation as one of the forefront names in professional photography in Malaysia. The party was attended by suppliers and clients that use Barney Studios services. It was definitely a fun night as the guests toured the office, checking-out the display of work from a combination of photographers and digital artists. The food was mouth-watering with a buffet dinner, asam laksa and ais kacang for dessert. There was of course, an open bar, which is almost as nice as Barney's work. There were drinks there for drinkers and non-drinkers, very accomodating. All the guest were seated at their respective tables chatting and migling as they normally do It was definitely an enjoyable night. fD

Michael Conrad Retires

Micheal Conrad

LEO BURNETI WORLDWIDE recently announced the retirement of its vice chairman and chief creative officer Michael Conrad, s8. On I January 2003 Conrad will hand over his position to Miguel Angel Furones, 53. whom he named deputy chief creative officer in June 2001. Conrad will maintain close ties to the agency as a consultant. "Michael's passion for creative excellence is admired across the network and around the world. His contributions to our 9o-plus agencies, the network and the industry are immeasurable," said Leo Burnett Worldwide chairman and chief executive officer Linda Wolf. "While he is officially retiring from the agency, we look forward to his ongoing contributions to our culture and creative initiatives." Âˇ In addition to championing Burnett's creative product, Conrad also lends his creative insights to the global advertising community. His leadership role as the Juries President of the 1996 International Advertising Festival at Cannes was universally saluted. Since then, Conrad has chaired the TV and Radio Executive Jury at the Clios (2ooo), served as Chairman for Asia's AdFest and Eastern Europe's Golden Drum creative festivals (1999 and 19<)8). and served on the D&AD jury (2002) . . In addition, he has spoken at numerous creative festivals, including Cannes, Golden Drum, Festival Iberoamericano de Publicidad (FlAP), Media Magazine's Creative Workshop in Asia and D&Aii. He has spent most of the last six years on the road meeting with Burnett creatives, judging award shows and hosting creative workshops. In 1975. Conrad co-founded his own agency, Liirzer, Conrad in Frankfurt,

Germany, which merged with Leo Burnett in 1980. The Frankfurt agency's name was changed to Michael Conrad & Leo Burnett in 1986. That same year Michael joined Burnett's corporate office as president of Leo Burnett International. In 1993, he was named a group president and deputy chief creative officer for the global organisation. Conrad is an honorary member of the Art Directors Clubs of Germany and Switzerland. He also serves on the board of governors of the School of the Art Institute of Chicago. "Michael is a true global creative ambassador," said Wolf. "We've been planning for his retirement to ensure that his legacy lives on under the leadership of Miguel Angel Furones. I know that Miguel Angel shares his passionate commitment to raising the creative bar at Leo Burnett Worldwide." Furones most recently served as chairman of Vitruvio/Leo Burnett Madrid and regional chief creative officer of Burnett's Europe/ Middle East/ Africa region, having worldwide creative oversight for many of Burnett's key multinational clients. Furones will continue to be based in Madrid. An advertising icon in his native Spain, Furones worked as a creative at JWT and Contrapunto in Spain before founding Vitruvio 30 in 1980. In its first 10 years, it gained a reputation for being one of the country's most creative agencies. Vitruvio 30 merged with Leo Burnett in 1990, and in recent years has become one of the more prominent agencies in Burnett's network. Vitruvio/Leo Burnett Madrid was named "Agency of the Year" in Spain and Portugal two years in a row at Latin Spots' Eye of Iberoamerica Awards (2001- 2002). tD

u-studios jjTrust No One'' Is Reborn Says FCB Study by Michelle Fernandez

urrusting in others - whether they be organisations, institutions or brands- has become just too risl<y for many people" - Janet Pines

THE Utusan Group has re-vamped and relaunched U-Studios, a post production house that is equipped with the most up to date and state of the art post production system, complete with recording and audio dubbing facilities. After closing down for a year due to bad management, Utusan Sight & Sound decided to either close it down completely or to relaunch it. The latter proposed better prospects. Once a new management was brought in, headed by Adi Satria, director of U-Studios, re-strategising of the whole business plan was under way. The whole studio needed to be changed and a major face-lift was required. New machines were brought in, systems were upgraded, and everything was completed to meet the demands of the market. The new studio definitely stands out and unlike many post-production houses, UStudios has everything under one roof. This allows clients to integrate all of their post-production needs, receive better value, obtain higher standards of production service and have greater flexibility. With a networking and design configuration that enables efficient co-ordination of the entire operation in a smooth and organised fashion. These facilities cut down operational time for clients by up to 40%, the studio claims. Driven by a team of dedicated, highly skilled producers and talented editors, UStudios is committed to providing solutions to clients' needs and visions. fD

18 aDOI

MARKETINGCOMMUNICATIONS

A DETERIORATING world economy, terrorism, and corporate financial scandals have made "trust no one" a mantra for a growing number of people worldwide. A new global study, "The truth about trust: Finding your own truth in your own world" recently released by global agency Foote, Cone & Belding confirms that trusting in one's self rather than others is the choice of an increasing proportion of citizens and consumers worldwide. "Trusting in others -whether they be organisations, institutions or brands - has become just too risky for many people," said janet Pines, the executive vice president, worldwide director of strategy and insights for FCB. "In fact, in most times and in most places, trust is a luxury. In the dot-com heyday, trust was rampant. These days, people feel too vulnerable to trust." The study, conducted in the US, UK, Europe, Latin America, Asia and Australia, shows good news for marketers as brands are welcome in consumers' individual worlds, but corporations are not. Brands that feel too "corporate" are putting themselves at increasing risk. "The new Cathay Pacific advertising, for example, may be missing the mark in connecting with consumers, as the 'service from the heart' communication seems to be more directed at staff and shareholders than at customers," says Natalie Pidgeon, the regional director, strategic planning for FCB Asia Pacific. The study shows that people are actively searching for their own truth in their own world. It also highlights the fact that people know they are surrounded by manipulated and sensationalized information provided by commercial interests. This means there are now new rules for marketers in terms of providing "fat-free" information that speaks to a person on an individual level.

"People are savvy about the information that is provided by the media and marketersthey know that it is 'fatty'. What they want are sources that give them the facts not the fat. Sources that don't try and over sell, but that give them essence and that are clear about the purpose of the brand in your life," said Pines. The report concludes that commercial words, cliches and jargon have lost much of their impact to build trust. Advertisers and marketers should talk to and with consumers, rather than at them. Above all, consumers are looking for proof of performance, transparency of information, respect and resonance. In Singapore, StarHub compromised its marketing strategy by claiming to be service-oriented, while not responding to coverage and billing issues fast enoughwhile the problems have been fixed, the stigma remains. "Successful marketers will be those who pay more attention to 'nuance' and actions than words," said Pines. This has particular relevance for foreign multinationals marketing to consumers in India where the most trusted brands tend to be pedigree Indian bands, such as Tata, Life Insurance Corporation (LIC), and AMUL, that are seen as having stood the test of time, and are perceived to deliver reliability and value. According to the research in India, multinationals are only 'somewhat trusted'. Interestingly, despite the prevalence of corporate misdeeds, the report also points out that consumers don't expect corporations and their brands to be 'super-human' and flawless. It is how a company handles a mistake once it is made that is important. "Mistakes reflect a company or brand's humanity. Creating solutions that build relationships will pay dividends with consumers," said Pidgeon. fD

THE MOST AWARDED COUNTRIES IN THE WORLD IN 2002

1. 1. J. 4. 5. 6. ].

8. g. 10. 11. 11.

13. 14= 16. 17. 18.. 1g. 10.

11= 14=

USA(1) Great Britain (1) Spain (3) Germany (8) Brazil (4) Argentina (5) France (6) Japan (7) Sweden (15) Thailand (10) South Africa (g) Australia (11) Mexico (z1) Canada (1z) The Netherlands (14) Singapore (13) Hong Kong (16) New Zealand (1]) Chile(-) Portugal (13=) Czech Republic (11) Italy (15) Poland (10) Norway (18) Switzerland(-)

Winner PtsTV 165 144 Jg 40 35 4g 33 47 17

Winner Pts Print 85 75 37

30 15

38 Z1 31 11 16 8 11 g 8 11 g 7 6

1. 1.

J. 4. 5. 6. 7=

11= 13. 14. 15= 18= 10. 11= 14=

Nike (1) Volkswagen (1) Budweiser (4=) Levi's (-) lkea (16) Fox (4=) Sony (3) Land Rover(-) Toyota(-) Club 18-30 Holidays(-) Audi (11) BMW(13) Guinness (-) Reebok (-) Mercedes (g) Heineken (-) FedEx (-) Dulux (-) The Economist (11) Telecom Argentina(-) Adidas (6) Coca Cola(-) Mattell (-) McDonald's(8) Pepsi (14) Durex (-) Harley-Davidson(-) Campaign Brief Asia(-)

17 16 7 4 14

11 11

1 11 g 1 1

3 1 10 1 6 6 5 8 -

36 11

71 70 61 53 48 47 46 41 40 Jg Jg 38 36 1g 14 17 16 16 16 14 14

6 11

18 8 17 10

11 11 8 8 4 7 7 8

Winner Pts Print 18 14

TOTAL 54 Jg 11

1g 16 15 15 15 15 14 14 14 13 11

8 11 1 15 1 1

13 1 3 11 10 8 10

11 11 11 10 g g g 8 8 8 8 8

8 8

THE MOST AWARDED PRODUCTION COMPANIES IN THE WORLD IN 2002 Gorgeous Enterprises (London) (3) 1. @radical. media (New York, London, Paris, S ydney, etc.) (4) J. Anonymous Content (Culver City)(-) 4. Garcia Bross(Mexico City) (17) 5. Spectre (London) (14) 6. Partizan (London, New York, Santa Monica, Paris etc) (1) 1. Hungry Man (New York) (13) 8. Harvest (Santa Monica)(-) g. Propaganda/Sattelite (New York, London, Hollywood) (5=) 10. Matching Studio (Bangkok) (5=) 11. Pytka (Venice, CA) (-) 11= Dentsu Tee nokyo & Osaka)(-) The Film Factory (Hollywood & Bangkok) (11) Stink (London)(-) Outsider (London)(-) 16= Argentina Cine (Buenos Aires)(-) Lee Films(Madrid)(-) 18. Academy Commercials(London) (1g) 1g= Blink Productions (London)(-) AOI Advertising Promotion nokyo) (-) Phenomena (Bangkok)(-) Independent Media (Santa Monica)(-) HSI (Los Angeles) (-) 14. Avion filmsnoronto) (-) 15= Tohokushinsha FilmCorp nokyo) (10) 1/33 Productions (Suresnes) (15) filmGraphics (Sydney) (13) Jo! Schmid Filmproduktion (Berlin)(-)

20 aDOI MARKETINGCOMMUNICATIONS

1. 1. J. 4.

REEBOK LEVI'S ENGINEERED JEANS NIKE FOX SPORTS TV I M.L. BASEBALL

5. NIKE 6. NIKE 7. STELLA ARTOIS 8. LEVI'S ENGINEERED JEANS g. JAPAN AD COUNCIL I CHILDREN'S FOUNDATION 10. TOYOTA CELICA 11. JOHN WEST SALMON 11. TELECOM ARGENTINA 13. AUDI MULTITRONIC TRANSMISSION 14. DUREX CONDOMS 15. DETR/ROAD SAFETY 16. NIKE/FREESTYLE

17. IKEA 18.1KEA

1g. IKEA 10. VISA GOLD CARD 11. ESTRELLA DAMM BEER 11. BMW C1 MOTORCYCLES 13. FANTA

14. NSPCUPREVENTION Of CRUELTY TO CHILDREN 15. TOYOTA COROLLA 16. THE HISTORY CHANNEL

8 3 g 1 3

THE MOST AWARDED PRINT ADS IN THE WORLD IN 2002

Ad. Pts TOTAL 150 11g 76

THE MOST AWARDED BRANDS IN THE WORLD IN 2002 Winner PtsTV 36 15 11

THE MOST AWARDED COMMERCIALS IN THE WORLD IN 2002

Winner Pts 57 31

14 13

18 17 16 14 13

13 11 11 11 11 11 10 10 g 8 8 8

8 8 7 7 7 7 7

17. DELTA LLOYD INSURANCE 18. BRIGHT DAIRY I SCHOOL MILK 1g. BUD LIGHT 30. BUD LIGHT 31. DULCOLAX LAXATIVE 31. EUSKALTEULOCAL CALLS 33. INTERFLORA 34. MCUSMART CARS 35. BEHINDERTEN SPORTVERBANDBERLIN 36. AIRBUS 37. C.O.I./CHILD PROTECTION 38. POSTBANK PLUS VALUE MORTGAGE 3g. DE LOTTO 40.CITIZENS AGAINST TERRORISM 41. STIFTUNG V. ANTI -SEMITISM & RACISM 41. OXYGEN BROADBAND 43. AUDI A3 44. HEINZ MICROWAVE SOUP 45. TAIWAN SECOM SECURITY 46. BUD LIGHT 47. PRP/PORTUGUESE ROAD SAFETY 48.ABBA SEAFOOD SPREAD 4g. NASHUA/ TENNIS SPONSORSHIP 50. COCA COLA

"Sofa" "Twist" • "Tag"

Great Britain Great Britain USA

11 Z1

usoat", "Leaf Blower", "Nail Gun" "Shade Runner" "Freestyle" • "Doctor" "Odyssey"

USA

USA USA Great Britain Great Britain

16 14 14 14

"Whale" "Dog" usear" * "Yawn" •

Japan USA Great Britain Argentina

13 13 11 11

"The fan" • "Square" "Kill Your Speed" "Football", "Skateboard", "Basketball"

Germany Great Britain Great Britain The Netherlands

10 10 10 g

uoog"

Singapore France

g 8

Sweden ThePhilippines Spain Germany Japan

8 8 8 8 8

Great Britain Great Britain USA

8 7 7

The Netherlands

China

Canada

USA

france Spain Denmark

7 7 6

Germany

.. Fork", "Little Cars", "Spaghetti" "Nice & Tidy" "Dining Out" "Forever" "Magic Car" • "What Are You?", "Fanta Beam", "Weight Check" "Cartoon" "School" "Boxing", "Moon Landing" "Parade" • "football", "High Jump" "Sin & Sentimentality" "American Heroes" campaign "The Departure" "Paxti" campaign "Tool Shop", "FormulaOne" • "Fat Man Walking"

"Shoplifter" Germany "TheMagma" france "You Never Know" Great Britain

6 6 6

Campaign of 3 "True Friends" "Tourists"

The Netherlands The Netherlands USA

6 6 6

"fight Violence" "Classroom" "Babysitter" • "Quick" • "The Hidden Crisis" "Fridge"

Switzerland HongKong Spain Great Britain Taiwan Canada

6 6 6

Prevention campaign "Early Morning" AnnaKournikova campaign "Para Todas"

Portugal Sweden South Africa

5 5 5

Argentina

5 5 5

1. CLUB 18-30 HOLIDAYS

.2!!4 17

Bar", Great Britain "Beach" "Pool" 1. FEDEX "Box" Thailand 3. DULUX PAINTS "Pregnant", South Africa "Sunburn" & Campaign 4. CAMPAIGN BRIEF ASIA "Cecilia", Hong Kong 11 Marc", "Antoni" 5. NIKE "Enjoy The Weather" USA campaign 6. LAND ROVER FREELANDER "Hippos" Great Britain 1. HARVEY NICHOLL'S SALE ''Neck", Great Britain "Shin" "Stomach" 8. CANCER PATIENT'S AID ASSOCIATION "Cowboy" India g. THE ECONOMIST "Missing Piece" Great Britain 10. HARLEY-DAVIDSON "Peanuts" USA & campaign 11. GOTEBORGS-POSTEN "Local Knowledge" Sweden campaign 11. MULTIPLE SCLEROSIS SOCIETY "fusebox" Great Britain campaign 13. VOLKSWAGEN Of AMERICA "Beetle Shapes" USA campaign 14. ABSOLUT VODKA "Absolut LA" USA 15. LUDWIG GORTZ/ADIDAS "Soccer", Germany "Tennis" "Running" 16. OSLO PIERCING STUDIO campaign Norway 17. DIESEL JEANS& WORKWEAR "Daily African" Sweden campaign Argentina 18. NUTRASWEET "Jeans" 1g. VICTORINOX/SWISS ARMY KNIFE "Tool Box" China 10. TORTURE MUSEUM PRAGUE "Punishments" Czech Republic campaiRn 11. MIGUEL TORRES WINE "Cow", "Fish", Spain "PiR" 11. MILESTONE g3.5FM RADIO "Afro", "Reggae" Canada & campaign 13. SKY TV "Mini Me" New Zealand 14. GUINNESS EXTRA COLD "Eskimos", Great Britain "Igloo", "Seal" & campaign 15. CLARIN ENCYCLOPAEDIA "Archivo" Argentina campaign 16. RATP/PARIS SUBURBAN RAIL "ligne de Vie" france campaign 17. MciLHENNYTABASCO SAUCES "Labels" campaiRn USA 18. UNICEF/CHILD LABOUR "Jeans", "T-Shirt", Germany "Tennis Shoe" 1g. NEW YORK TIMES "Newspaper", USA "Skyline", "Map" 30. DISCOVERY CHANNEL "Zebra", The Netherlands "Airplane" "Shark" 31. CABOMAR WHITE WINE "frutos deMar" Spain 31. PARMALAT LOW FAT MILK "Umbrellas" Argentina Singapore 33. SINGAPORE CANCER SOCIETY "Ashtray" "Run London" Great Britain 34. NIKE campaign 35. MATCHBOX/MATTEL TOYS "Police, "Worm", Malaysia "Speed Limit" 36. OIL OF OLAV "Tock Tick" South Africa 37. GUINNESS "Pint Matchbook" USA 38. HEINZ KETCHUP "4 Chips" France Jg. GIBSON GUITARS "Rich & Famous", USA "Lyrics", "1g5l" 40.GUINNESS ''Navel", 11Torso", Singapore "Bottom" & campaign 41. ECPAT/CHILD PORNOGRAPHY campaign AWARENESS Sweden 41. COVENANT HOUSE/HOMELESS "Toy Boxes" Canada campaign 43. MASP/SAO PAULO MODERN ART MUSEUM "freud" Brazil 44.SEA SHEPHERD Campaign Singapore CONVERSATION SOC. 45. SHIRE SKIN CANCER CLINIC "Burnadette" New Zealand & campaign 46. PELLITINSECT REPELLENT "Insectivores" Germany campaign 47. SCHWEPPES TONIC "Archer", "Sven", Great Britain "Blair" & campaign 48.AMERICAN NIKE/ TENNISSPONSORSHIP "Excuses" Spain campaign 4g. ROWENTA CURLING IRON Germany "Curler" 50. LAND TRANSPORT SAFETY AUTHORITY "Auto Trader Wrecks" New Zealand 11

17 15 14 13 11 g

g g 8 8 8 7 7 7 6 6 6 6 6 6 6 6 5

5 5 5

5 5 5 5 5 5 5 5 5 5 5

5 5

5 5 5 5

5 4 4

THE TOP 18 AGENCY NETWORK IN THE WORLD IN 2002

1. 2. 3Â· 4. 5. 6. ].

8. g. 10. 11. 12. 13. 14. 15. 16. 17. 18.

BBDO WORLDWIDE (2/1/2) SAATCHI &SAATCHI (41314) DDB WORLDWIDE (3/2/1) TBWA (5/4=13) LEO BURNm (114=/6) LOWE (7/615) YOUNG & RUBICAM (8/g/8) OGilVY (61717) McCANN-ERICKSON (11/11/14=) DENTSU (10/10/10) J. WAlTER THOMPSON (12/15!16) EURO RSCG (g/8/11) FCB (13/12/g) D'ARCY (17/18/1g) PUBliCIS (15/14/14=) BATES (18h7/17) HAKUHODO (16116/18) GREY (14/13112) (All others)

TOTAl

Winner PtslV 83 56 76 58 57 63 37 31 36 2g 18 18 g 13 5 g 13 g

Winner Pts Print 61

(m)

50 3g 38 17 30 34 11 6 10 8 16 4 10 5 3 (183)

8g2

5g6

TOTAL 144 127 126 g]

g5 80 67 65 47 35 28 26 25 17 15 14 13 12 (455) 1488

(numbers in brackets after each name = ranking 1001/zoooh999)

THE GUNN REPORT 2002

SUMMARY

THE MOST AWARDED DIRECTORS IN THE WORLD IN 2002

(Runners up: levi's Engineered Jeans "Twist" &Nike "Tag'1 ii. Print Ad or Campaign of the Year: Oub 18-30 Holidays "Beach", "Pool", "Bar" (Runners up: Fedfx "Box" [Thailand] & Oulux Paints [South Africa]) iii. Country of the Year: USA

(Runners up: Great Britain &Spain) iv. Advertiser of the Year: Nike (Runners up: Volkswagen & Budweiser) v. Production Company of the Year: Gorgeous Enterprises (London) (Runners up: @radical.media &Anonymous Content) vi. Director of the Year: Frank Budgen (Runners up: Baker Smith, Daniel Kleinman &Simon Bross) vii. Agency of the Year: Wieden & Kennedy (Portland, OR) (Runners up: Saatchi &Saatchi (london) & Dentsu {Tokyo} viii. Agency Network of the Year: BBDO Wo~dwide (Runners up: Saatchi &Saatchi & DDB Worldwide)

1. 2. 34. 5. 6. ].

8. g=

12=

15. 16= 18=

24=

GUNN REPORT 2002 THE Gunn Report combines winners lists from the most important award shows. Global contests, regional or national. For 2002, we are including the top 32 shows in the world for TV & Cinema, and the top 20 for Print. The level of award that counts for a given show is "Cannes Bronze Lion Equivalent". Winner points, which apply for Tables Three to Eight (Countries, Brands, Production Companies, Directors, Agencies and Agency Networks). different from Ad Points, which apply for Tables One and Two (Commercials and Print Ads). "Winner Points" - I point for each win at qualifying level and 2 points for Best of Show. "Ad Points"- to achieve more separation and spread, normally double. 2 for a winner. 4 for Best of Show. I point for a second or third winner for the same ad in the same show. And 3 points for a Cannes Gold, a One Show Gold or a D&AD Silver. t;)

g 8 8

8 8 8

8 8

8 7 7 7 7 6 6 6 6 6 6 6

THE MOST AWARDED AGENCIES IN THE WORLD IN 2002

Commercial or 1V I Cinema Campaign of the Year:

Reebok "Sofa"

Winner Pts 44 1g 1g 1g 12 12 10 10

1. Frank Budgen (Great Britain) (20) 2= Baker Smith (USA)(-) Daniel Kleinman (Great Britain) (8) Simon Bross (Mexico City) (14) 5= Joe Pytka (USA) (14=) Suthon Petchsuwan (Thailand) (4=) 7. Fabian Bielinsky (Argentina)(-) 8. Bryan Buckley (USA)(22) g. Traktor (USA &Sweden) (1) 10. Ivan Zacharias (Czech Republic & GB) (-) 11. Jonathan Glazer (GB) (24=) 12. Shunichiro Miki (Japan) (24=) 13. Kuntz & McGuire (USA) (3) 14. Thanonchai Soonsrivichai (Thailand) (21) 15. Chris Smith (USA)(-) 16. Paul Hunter (USA)(-) 17. Victor Garcia (Spain)(-) 18. Masahiro Takata (Japan)(-) 1g. Tom Carty (Great Britain) (-) 20. Chas. Randolph-Wright (USA)(-) 21. Bruce Hunt (Australia)(-) 22. Chris Palmer (Great Britain) (11) 23. Frank Todaro (USA)(-) 24. Neil Harris (France)(-) 25= Diego Kaplan(-) louis Ng (Hong Kon~ (24=) Martin Granger(-) Martin Schmid(-)

28. 2g=

35=

40=

45=

Wieden & Kennedy (Portland, OR)(-) Saatchi &Saatchi (london) (5) Dentsu (Tokyo &Osaka) (1) Bartle Bogie Hegarty (london) (1g=) Abbott Mead Vickers/BBDO (london) (10=) BMP DDB (london) (3) lowe (london) (8) TBWA\Chiat\Day (los Angeles & New York) (1g=) Aguila & Baccetti (Buenos Aires) (40=) BBDO (New York) (47=) BBDO (Bangkok) (25=) Forsman & Bodenfors (Gothenburg) (47=) Saatchi &Saatchi (Hong Ko:;Jl, (-) Springer &Jacoby (Hambu (22=) TBWA Hunt lascaris (Johannesburg) (27=) Mother (london) (12=) Tandem DDB (Madrid) (16=) Almap/BBDO (Sao Paulo) (1g=) Arnold Worldwide (Boston) (t6=) Carmichael lynch (Minneapolis, MN) (-) Craverolanis Euro RSCG (Buenos Aires) (6=) leo Burnett (Prague)(-) McCann-Erickson (Madrid) (47=) DDB (Chicago &Dallas) (25=) Hakuhodo (Tokyo) (33=) Scholz & Friends (Berlin) (27=) Young & Rubicam (Chicago/New York/Miami)(-) F/Nazca Saatchi &Saatchi (Sao Paulo) (to=) Colenso/BBDO (Auckland)(-) DMg DDB (Sao Paulo) (22=) Downtown Partners (Toronto)(-) leo Burnett (london) (2) Rainey Kelly Campbell RoalfeN&R (london)(-) Result DDB (Amstelveen) (-) Fallon (Minneapolis & New York) (Jg) Gibert DDB (Mexico Oty) (-) Jung von Matt (Hamburg &Munich) (42=) McCann-Erickson (london/Manchester/Belfast) (-) Taxi Advertising & Design (Toronto)(-) Crispin Porter & Bugusky (Miami) (33=) Del Campo Nazca Saatchi &Saatchi (Buenos Aires)(-) lowe Bull Calvert Pace (Johannesburg)(-) Saatchi &Saatchi (Sydney)(-) Wieden & Kennedy (Amsterdam)(-) BDDP & Rls (Boulogne Billancourt (6=)* Cliff Freeman & Partners (New York) (4) Duval Guillaume (Brussels)(-) Ogilvy & Mather (Frankfurt)(-) Ogilvy &Mather (Mumbai) (27=) Saatchi &Saatchi (Singapore)(-) Saatchi & Saatchi (Torrance, CA) (-) TBWA (Berlin)(-) TBWA\Paris (Boulogne Billancourt (6=)* Young & Rubicam (Madrid)(-)

Winner PtslV 30

Winner Pts Print TOTAl 10 40

26 24 15 11 23 16

4 4

30 28 27 25 23 22

17 4 11

2 15 7

1g 1g 18

7 11 6 11 11 10 2 2 11 7 10 11 13 1

11 7 10 4 4 4 12 12 3 7 4 2 12

18 18 16 15 15 14 14 14 14 14 14 13 13 13

10 g 1 4 11 11 5

3 3 10 7 6

g 4 g 7 g

2 6 1 3 1

11 10 10 10 10

1 4

g 5

10 g

3 7 g 4 7 3 3 4 8 8 3

6 g 2 4 1 5 5 4 8

g g g g 8 8 8 8 8 8 8 8 8 8

(' in 2001 TBWA\Paris & BDDP &Rls were treated as one agency)

5 8

13 12

11 11 11 11 11

Agency: Saatchi & Saatchi Creative Director: Edmund Choe I Szu Hung Lee Copywriter: Edmund Choe I Graig Davis Art Director: Kelvin Long Agency Producer: Debbie Manuel Production House: Carrot Films Film Director: Barney Chua Production House Production: Lim Chan Huat Foley Audio Post Production: lmaginex Sdn Bhd

BroadcastMedia

Brand based on promptness and linked to Malaysian sociery

Acrion and invesrigarion brand

Flashback. Agency presenting creative campaign to the client. Client servicing presents the strategy based on brand and business understanding and creates a build-up for the creative. Creatives dramatically unveil the advertising, based on a mix of intuition and observation of human behaviour, using a range of media that best help convey the creative idea and await the applause. And finally after the applause, media presents the plan, based on the sizes and durations of the adverts just presented by creative and a schedule, and finally wake everyone when the budgets are presented.

Cut to the present. Media independent presents a media strategy based on deep business and brand understanding, highlighting the strategic role of each medium. Going beyond the normal spot buy and column p er em, th ey present a range of innovations that build the brand creatively using media equities. Continuing with a list of smart buys based on annual bulk deals and usage of fringe time and unutilized space.

Sound familiar? WHILE this may not be the story yet for most agencies, its getting there. Media agencies have come a long way from being backend boys to key elements in defining the br and and business strat egy. And creative strategy is often the result of a front"end media strategy. Media is no

aDOI MARKETINGCOMMUNICATIONS

longer the 'via medium' for the message. Increasingly in the current business environment, it is defining the message and in many cases medium is the message. Histor ically the role of media h as been in the aggregator of audien ce groups, the early soap operas brought together housewives after their daily chores. And

The Senario brand exrends beyon d TV. Here rhe case is in concerr in }ohor Bahru

advertisers tapped into these aggregation of viewers to communicate and eventually sell their wares. It just took a few advertising spots to become the talk of town. The sheer cost of media and the clutter in the media landscape has made it important for media to play a role beyond just aggregator audience. And it is becoming the message in itself. Look at the Kit Kat benches, Ginkgo advice columns, ICI's weather updates ... they are all examples of how the medium has b ecome the message. The opportunity ahead is not just limited to sponsorship or name association, instead the real opportunity is in leveraging ex isting strong media equities to build brand. For example Senario has a base of about four million view ers, most of whom are loyal and highly involved, who follow the antics of the four zany guys, across stage appearances, movies, autograph sessions ... not many 30-second ads can build that kind of fan following. This loyal following associat es the equity of the Senario br and with quick wit and humour- a brand equity and viewer franchise that can leveraged for example, by brands in the confectionary cat egory. Th e other distinction is that the Sen ario brand is n ot built just by 30-second commercials appearin g in commerci al breaks or static press ads, its equity is a r esult of 30 minutes of programming, built

BroadcastMed ia

by Navonil Roy

Ginkgo may improve blood flow [9} J . . IOyeanoldandhavuproblea

with e:ireut.Uon. I ua pr-one to piN ud. rtHdJH iJI my banda and IMt whenever I lit ud watch kie'l'iaion or Rand iD q- - . What ien.-.iOf&bl•ud. bow ean 1 tolve this proble•1'

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&lUrin tend to b. leN flexible, and the w.U.

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Brand stretchable across forms

The "nonadvertising advertisement": A Ginkgo advice column

Lifestyle brand

"Media agencies have come a long way from being bacl<end boys to key elements in defining the brand and business strategy" week after week for the past seven years. Brands can leverage this equity via product placements, franchising Senario and its characters in product extensions . Imagination is the only limit for brands, as they open up new opportunities of using the medium to be the message. The opportunity does not end with Senario. Bulletin Utama has two million loyal followers, who have made it a habit to tune in everyday and associate Bulletin Utama with a brand equity around promptness of

delivery and in-depth understanding of Malaysian society - an equity desirable to any large retail bank or financial institution. The potential to tap media equities does not end there . Nona , Majalah Tiga , ]uara Lagu, 999, Malaysia Hari Ini each represent different and distinct equities. And each has its loyal and involved audience. With these strong equities and viewer franchise, desirable to a range of brands operating across different categories,

who wouldn't want to make the medium the message? In order to open opportunities for brands to leverage existing media equities and to build newer ones, TV3 has started the Creative Marketing Group, a specialised department with skills in branding and innovation. Navonil Roy (email: navonil@ tv3 .com.my), the author of this article, is leading the initiatives for the new group. ti)

aDOI MARKETINGCOMMUNICATIONS 23

YoungGun

From

to by Michelle Fernandez

And the young creative award goes to ... lim Oon Soon of Leo Burnett. Talk about beginner's lucie .. or skills as it may be. He's been in advertising only a year and a half and already he's bagging awards. For the second year in a row, Leo Burnett can claim the Young Creative Award at the Kancils. But how did graphic designer Lim Oon Soon get to this point? "WHEN I was younger, I was always curious about how things were done," he said. "If I wasn't in graphic design, I'd most probably be an architect." Luckily for the design industry, Lim placed those architectural inclinations aside in favour of the relatively more immediate gratification of graphic design. "It takes years to complete a building, I'm more impatient than that," Lim admitted. Following his school days, Lim worked at a fine art gallery. But dealing with artists was a bit too much, and he soon joined a graphic design studio. He worked in the industry locally and has been in graphic design for about eight years now. Soon after that, he left to travel and managed to get a job in the Netherlands. After a few years at Studio Dumbar - one of the top design studios in the world - Lim was offered a job to head the design department of Leo Burnett Malaysia. Truly passionate about the work that he does, Oon Soon believes that when a person does something, they have to put their soul into it, otherwise it'll be just another ad or design. There's such a wildly inspiring creative streak to Lim, he takes a different route to work everyday. ADOI couldn't wait to sit down to discuss his work, travelling people and whatever else wandered into the frame ...

24aDOI MARKETINGCOMMUNICATIONS

Did you plan this jump into advertising, or did it just happen? I never planned to do advertising, it never crossed my mind at all. I was actually working in graphic design field and at that time I was in Netherlands working for Dumbar Studios, a well-known graphic design studio. One day I received an email from Yew Leong, the head of art at Leo Burnett Kuala Lumpur, and he asked me if I was interested in joining Leo Burnett. I mean, even before, I had heard of Leo Burnett and I knew that they produced excellent work. Some of my favourites are the Petronas commercials. Yew Leong and Ali were thinking of setting up a graphic design department. They called me, we had a chat and that's how I got into LB. Tell us about your graphic design work in the Netherlands? In Studio Dumbar in the Netherlands, I was involved mainly in corporate identity projects that included the Prime Minister's department. It was great that the Dutch understood how important design was, even government bodies - the identities must be well done and consistent - an easily recognised event like a police car passing by. The other group of projects I was involved in was the corporate identity for the city council of

Rotterdam. It was a huge project - logo colours and forms for each division, staff uniforms, publications, transportation, signage, etc. It was great fun. Imagine if we were asked by DBKL or MPPJ to re-design their CI? It would be massive fun. I hope that one day our government will seriously take this into consideration. How does advertising match up against graphic design? Graphic design and advertising are actually quite different. Advertising is mostly focused on art and communication- it's conceptual ideas with copywriters, art directors and so on. Graphic design, on the other hand, is more about crafting your work. Meaning that when you get a job brief to design a brochure or a logo, it's basically a one-man show rather than a team effort. When it comes to graphic design, it's just you and no one else. It's also more about the craft - all the elements of the company have to come out in whatever materials they produce. Graphic design is a longer process. A print ad may be one page, a graphic design of a corporate brochure may be IO or more pages. Where advertising is mostly about selling or persuading someone to buy something, graphic design is about making people comfortable. For example, if a metro map is

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not designed well or colour coded, one will find difficulty in getting from one point to another. Is the graphic design industry capable of evolving in this country? I think the awareness of the importance of design is increasing. It probably still has a long way to go but I think it's off to a good start. Education on art and design has to be more pronounced in primary and secondary schools rather than just focusing on the basic subjects. Currently, art just seems to be a subject that's there to fill in a hole in the schedule. We also lack good museums and art galleries in this country. Ever look beyond design? Any other communications area you'd like to try your hand at? I would love to do TVCs because I like moving images. I've actually planned to do a short documentary or movie. But all this is more on the experimental side and I think

the technique is more towards production. I've never attended any production course, I don't know how they work but I would love to give it a try. I think it would be interesting. What are some of the challenges you're facing now that you've won an award? Are the expectations raised? Not really. I'm still doing what I do everyday and the clients are still happy with my ideas. Planning on winning any more awards? I don't think people should base creativity on winning awards. It's more a bonus than something to judge by. To me, if your work is accepted by your clients, that's good enough. It's also about self-satisfaction. If I'm working on a project and I'm not satisfied, I'm definitely not going to present it to the client. Self-satisfaction is first and if the client accepts it, then that is enough. @

"Graphic design and advertising are actually quite different. Advertising is mostly focused on art and communication - it's conceptual ideas with copywriters, art directors and so on. Graphic design, on the other hand, 1s more a one-man show rather than a team effort"

aDOI MARKETINGCOMMUNICATIONS 25

PlannersPoint

Planner as Architect

byZayn Khan

the duty of "insight provider" means having an understanding of psychology, sociology, and politics and how they impact on consumer attitudes. It also requires an ability to take these insights, link them to the communications objectives of the client, and create an inspiring brief for the creative team to use as a launch pad. This is not a sustainable model of planning, nor should it be. The problem with this view of planning is that it was born in the world of consumer advertising and does not reflect the new communications industry. Building a brand is about more than consumer insights, just as designing a building is about more than occupant needs. Planners must recognise that brands have many stakeholders, and that they

Forces acting on BRAND THE striving for entity, oneness in diversity, depth in design, repose in the final expression of the whole - all these are there in common pattern between architect and musician. Frank Lloyd Wright Of all the disciplines of business, brand communications is closest to the more ancient practices of architecture and music. What it shares in common with them is a desire to create meaning. The existence of a core concept- acreative idea, a kernel of inspiration - is something without which these disciplines could not exist. To become a Master requires not only the ability to conceive such an idea, but the tenacity to execute down to the level of the last bolt, the final window pane, the end note. Building a brand, like constructing a building, relies on a team of players including researchers, strategists, conceivers, managers, designers, writers, producers, buyers, sellers, and a whole host of other participants, often unnamed and unrecognised. If the architect is the one ultimately accountable for the artistic and technical merits of a building (the secrets of which are contained in his blueprints), then who is his equivalent in the brand agency? The answer is that anyone can play the role of the architect, but more often than not it is the strategic planner who is best positioned for the role. Planners are often thought of as the voice of the consumer within the agency. Fulfilling

26 aDOI MARKETINGCOMMUNICATIONS

Brand Architect Identity

Advertising

Direct

Interactive

need to act on behalf of all of them - employees, business customers, government, shareholders, suppliers, etc. If Starbucks had focused all of its energy on its consumers and left its employees out if the mix, where would the brand be today? The traditional model of planning often fails to acknowledge the larger external forces that act on a brand, namely the business environment in which the brand lives. It includes regulatory changes, economic trends, technological innovation, and competitor activities. It is these forces which drive corporate business strategy, which in turn dictates which markets,

customers, and business partners a company seeks to form alliances with. However, people don't form alliances with companies per se, but with brands. This vital link between business strategy and brand is something that traditional planning often overlooks. Old school planning also fails to take into account the melting of barriers between communications disciplines. Communications agencies can no longer afford to work in silos, with corporate identity, advertising, public relations, direct marketing and interactive running in isolation. Brands do not recognise these artificial distinctions, so planners shouldn't either. Would you hire an architect who is not conversant in structural engineering, lighting, or building technology? Making this model of planning work is not easy. It requires retooling one's skills, but it also requires a commitment, on the part of clients and agencies alike, to decouple planning from advertising, its traditional home. In effect, planners need to be positioned more as ''brand architects" that deliver strategic positioning, messaging, personality and communications strategy. All too often planners are asked to short-circuit the process and jump straight into communications without addressing the essence of the brand. Like buildings, brands don't stand without foundations. Transforming planners into brand architects is the only way to win a greater portion of the value chain, build credibility and ensure survival in a landscape where identity consulc tants and management consultants are nipping at our heals. This is not to say that planners must become jacks-of-all-trades and masters-of-none. On the contrary, a degree of specialisation within the planning function makes sense. Some planners may gravitate to research and insight discovery, while others may chose to focus on positioning and messaging. Each client has different needs, but having an array of tools and resources on hand to meet, if not exceed, those needs is vital for sustaining the power of the discipline. Zayn is group planning director at Ogilvy Kuala Lumpur and works across Ogilvy & Mather Advertising, OgilvyOne and Ogilvy PR advising clients on brand positioning and communications strategy. His role also encompasses new business development and knowledge management for the agency, working closely with all disciplines. ~

Media Consultancy Anyone?

Ira Carlin

GlllJ' Sin

THE Interpublic Group has launched Magna Global Asia Pacific by combining the media negotiation assets of Universal McCann, Foote, Cone & Belding and Initiative Media. IPG is calling the new operation an "agency-neutral media negotiations entity." Gary Sin has been named managing director of Magna Global Hong Kong, the first office to be set up in Asia Pacific. Magna began operations in the US, UK and Europe in 2001. The company is basing Magna on a concept that has been working quite successfully in Germany

for the past three years. In that market, Universal McCann and Initiative Media have cooperated through Intensive, a similar organisation, while remaining separate and competitive. Magna will "establish a new model in the media services world," Interpublic said in a media statement. "Magna is a separate media negotiating company that negotiates - on an aggregated basis - on behalf of its media planning and buying operations." In Hong Kong, Interpublic Group's current aggregated media

88( De rna nds Attention

A NEW joint global advertising campaign by BBC World, a 24-hour international news and information television channel and BBC World Service, a global radio broadcaster, advises viewers to "Demand a Broader View." According to BBC, the campaign highlights its worldwide coverage, while reminding viewers of "impartiality and expertise" and "a balanced, thorough

28 a001 MARKETINGCOMMUNICATIONS

examination of every story, from every point of view." The edgy campaign is targeted primarily at international business decision-makers and will run from November 2002 to February 2003 on posters at European and Asian hub airports, in ambient airport media such as on ticket wallets and carrier bags, and in international business and news journals and daily newspapers. The campaign was designed by WARL Change Behaviour, an agency within the WARL Group. The strategy for the campaign and its implementation has been developed by Mediaedge:cia Worldwide. BBC World reaches 232 million homes and 8so,ooo hotel rooms in 200 countries and territories worldwide. BBC World Service broadcasts programmes in 43 languages globally and has a global audience of rso million listeners while its website (http://www.bbcworldservice.com) receives 75 million page impressions each month. ti)

billings are HK$yoo million, which immediately ranks Magna Global Hong Kong among the top five media players. In that market. Magna Global Hong Kong will focus primarily on media negotiations and will not be involved in the media buying or media planning practices of the individual agencies. This, the company said, will offer the benefit of combined leverage, without compromising the confidentiality of proprietary client information and goals. Ira Carlin, the chairman of Magna Global Worldwide said, "In my mind Magna has a core reason for being that is breathtakingly simple and unerringly right for the realities of today and tomorrow - Magna is a negotiating and programming, knowledge-based company that is free-standing and a neutral entity that coordinates, focuses and leverages the combined clout of IPG agencies. It will be a magnification of IPG media assets in a consolidating media environment and it will drive new opportunities within a fragmenting media landscape." Magna Global Hong Kong began operations in Hong Kong on I4 November 2002. tD

Thunder and lightning at AD Classic 2002

Ad Oassic 2002 results: A Medal 1st Steven Anthony - Passion Pictures (Freelance), 2nd Richard Stevens- People, 3rd Jan Craighead - Select Team, 4th Amad Who Els - One for One

BMedal 1st Craig Wakelin - TBWA, 2nd Jagjit Vlrick- Menrai Outdoor, 3rd Joseph Wong - Consoltium, 4th Geoff Millichamp - APV Guests 1st Chrotopher Ponniah, 2nd Ramish Sharma, 3rd Wong Fook Chiew, 4th Anthony Francis

A BRIEF thunderstorm and heavy rain did little to dampen the enthusiasm of the yo golfers participating in this year's Ad Classic golf tournament. The annual event is organised by APV and Betarecs to help foster relationships in the advertising industry and raise some money for charity along the way. The 2002 event, the fourth, raised over RM35,000 for various charities. Sponsors this year included: Mild Seven Title sponsor, Passion Pictures, F&N and Carlsberg. The next event is scheduled for 29 May 2003. tD

M&C SAATCHI SETS UP IN MALAYSIA Wins Celcom; Hires Tan as CD in SG; launches Equinox with Zenith by Leonard Tse

Huw Griffith, CEO of M&C Saatchi Singapore

Terrence Tan, CD of M&C Saatchi Singapore

M&C SAATCHI Worldwide is setting up shop in Kuala Lumpur, according to a recent announcement from the company. The seven-year old independent set up by Maurice Saatchi, already has r2 offices in ro countries and is undergoing an expansion in Asia. A Tokyo office opened this year and a Shanghai office was set up in 200r. Two regional hub offices are located in Singapore and Hong Kong. According to sources, the agency has secured its first account - Celcom - which moves over from Bozell. Huw Griffith, CEO of M&C Saatchi Singapore is slated to take on the responsibility for both the Singapore and Malaysia offices and has already been recruiting local management and creative. Terrence Tan was recently hired as creative director in Singapore. The KL agency will be "strategic planning" based and run by a day-today team of experienced local talent. Singapore director of strategic planning Kate Bristow and deputy strategic planning director Angela Koch will support the new team. Tan, previously creative director and one of the founders of roAM Communi-cations, has 19

years' experience at International and local agencies. He will be the creative head of the agency including the retail and design departments. The oft-awarded Terrence is known for his ads in both English and Chinese languages. The agency also teamed up with Zenith Media Singapore to launch Equinox Communications on 2 December 2002 to service M&C Saatchi and its clients with a full media planning and buying service. The M&C Saatchi inhouse media planning department moved into a separate office at Zenith and become Equinox. Wee Ching Ian, the strategic media director of M&C Saatchi has been named group media director of Equinox reporting to Kenneth Tsang, Zenith's managing director in Singapore. M&C Saatchi Singapore, roth biggest billing agency in the market has a staff of so. The agency has also been "Agency of the Year" twice. Maurice Saatchi set the agency up in I99S following his departure from Saatchi & Saatchi, the agency he and his brother ran for two decades. M&C Saatchi includes amongst its regional clients Qantas and British Airways. (;)

Arachnid Perfect At l<ancils Three Nods For Col<e Site Finalist at NY Festivals

Moon FX atAEAF 2002

MALAYSIA'S much-awarded interactive agency, Arachnid, has done it again. For several years running, they've been scoring a roo% hit rate with their award submissions. "This year, we submitted three entries to the Kancils web category and all three won," said managing director Chin Weng Keong. These were a Silver for Ford, a Bronze for HSBC and a

Merit for Coca-Cola. They also submitted a single entry for Coke to the DMAM interactive category for this year, and that entry won too. Weng Keong was quick to point out that Arachnid didn't win the top prize at the Kancils A TRIO of entries from Moon FX have been chothough. "For the first time, we've been beaten by sen as finalists at the Australian Effects and a very good piece of work and I take this as impe- Animation Awards 2002. The nominations tus for us to keep doing even better work for include, in the commercial animation category, clients. The bar needs to constantly be raised, Mortein "Can Trust" (client: Reckitt Benckiser, and next year I hope we will be the ones to raise agency: McCann-Erickson, director: Tommy it again." Woon, production house: PRS Productions), in In total, Arachnid has won rs awards from the commercials VFX category, Petronas Fr r6 entries submitted at the Kancils over the last "Learning Curve" (client: Petroleum Nasional, five years. At the DMAMs, the agency is a per- agency: Leo Burnett, director: Brad Hogarth, fect four for four. And recently the Coke website production house: Passion Pictures), and Shell was named a Finalist in the Consumer-Targeted Advance "Feel the Difference" (client: Shell category at the New Media (Interactive Multi- Malaysia and Shell Thailand, agency: J Walter media) section of The New York Festivals 2002 Thompson, director: Justin Woon, production - the first Malaysian interactive agency to be house: PRS Productions). The AEAF Awards are recognised by that awards body. organised by the Australian Film Commission "This news is fabulous, because it's our first are scheduled to be presented at the Sydney major international award," Weng Keong said. Convention Centre in Darling Harbour on 3 Decem"We've won local awards, but this is on a whole ber 2002. Log on to http:/jwww.dmw.com.auj for a different level."{) tD listing of winners.

aDOI MARKETJNGCOMMUNICATIONS29

•••

l<wil<-e-Card turns five

"It tears down the walls between direct response and brand advertising and guarantees remarkable return-on-investment for advertisers." You've seen them in shopping malls , cafes, restaurants, theatres and so many other places. Interesting quotes, catchy headlines and arresting visuals - some have even become collectors' items stuck on office cubicles and walls. Kwik-e-Cards have always been free, and have shown increased popularity since launching in 1997·

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Apple Solution Experts Consultant

HotHappening

drian Holmes Pacl<s Them In

joe D'Silva, Khairuddin Rahim, josephine Kok, Panir Selvam Rajamany, Stephen de Souza, Charles Peters and Coditu Matthew George.

Adrian Holmes and Stephen Bong.

jeremy Cheam of Strategic Sration, Moon of MoonFX, the banned stranger and Peter Chao of PowerScreen

julie and Liza Lingan

42 aDOI MARKETINGCOMMUNICATIONS

tu!'-

Daphne Gob, john Soo, Carine Yap, Teo Eesim of jM Creative and Tim Clarke ofChuo Senko

Greg Paull. Shu Fen of RJ, Chin Tih-Tih, Yang Yu Tsing, Karen Toh of Microsoft and Diana Seow of CCH.

The Sil Ad team, Douglas, Paul, Leonard and Diana.

THE chief creative officer of Lowe & Partners Worldwide played to a standing-room only audience on 26 November 2002 at the Kuala Lumpur Golf & Country Club. For 6o minutes he held sway on 'Thinking Inside the Box.' Possessing the interminable grace of an Englishman, Holmes chatted amiably

for an hour, screened a number of commercials, and even managed to squeeze in a participatory activity or two. Special thanks to TV3 for presenting the event, and to the sponsors: Lowe & Partners Worldwide, Moon FX, Passion pictures, MME, R3 Asia Pacific and alt.TYPE. ~

Weekend on ?(Chinese). Golden Hour. Dinner Treat. Edisi Mandarin. All packed with action that makes headlines. Look out for them. Only on your feel good channel. Be apart of Malaysia 's most popular TV channel. To advertise, call Air7 at (03) 2095 7277. â&#x20AC;˘source: AC Nielsen Telescope (1-28 February 2002)

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