Adoi Malaysia 1998 June

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MM 'When advertising does its job, millions of people keep theirs.'

Ouch! That strip of ad by IAA, 4As and MAA (notice how they all want to score their As?) brought me back to the painful reality.

If I don't get a job by next month, my so far uncomplaining mum would probably say, "See, I told you so! You should've taken on that job giving out promotional cigarettes. You'd have RM2400 in your pocket, more than you ever earned." Ugh! Now, the thing is everyone is cutting back on their spending.

We don't eat out anymore, so the chicken rice seller closes his stall, he leaves the coffeeshop, the coffeeshop towkay loses his rent. Does this mean that even though I'm flat broke I should scrape whatever is left of my savings, go out and buy that white shirt I've been eyeing so that business will go on for the retailer, the shirtmaker, the clothmaker, the threadmaker and the cotton farmer? Then maybe, just maybe, after it all comes full circle, I might just get my job back. Voila! All that demand and supply thing I learned in Economics back in school suddenly makes sense. Wah! So easy one. How come I didn't know this earlier?

To survive in this present economic uncertainty, we need to shine amidst the dim, look for unconventional solutions, and as a fellow copywriter said, "It's not how you survive, it's how you live." Er, thank you my dear. That's why I've rerouted my writing skills to contest slogans, job applications and magazine articles with titles like '10 types of bras: What they do for you.'

You can either choose to lie low or take advantage of everyone else's cowardice (okay, maybe apprehensiveness is a better word) and show the world that you got what it takes to weather the bad times.

Sadly, not many are jumping onto this bandwagon. This came to light when a cousin of mine asked for my help to write a headline for a housing project ad. Her property developer boss wanted everyone to know that he's the best developer around and that this particular housing project is the best in town with the best value for money, with the best this and that and a whole lot more. What sheer arrogance, I thought. Wait till he falls flat on his face.

But later on, I realized this guy has substance and the ability to deliver his word and he's not afraid of telling this to everyone.

While everyone else is on a 'wait and see what thy competitor does' attitude, he is charging ahead towards the prized reward. This is the guts we need. Stop giving excuses and blaming everyone else. Start working those muscles and brain cells again. Hicom Gamuda certainly had this in mind when it announced 'Good Times Or Bad, We Deliver As Promised! The Kota Kemuning Interchange is now open.'

Bravo!

LETTERS

2

editor

By way of catching up on the ad world after a long stay in Pakistan, I was reading some of your earlier issues. Amongst the many interesting articles the one which caught my eye was "Who started account planning?' AD BIZ BITS (February/March '98).

Certainly primitive pseudo-scientific research techniques abounded in the mid-sixties and drove advertising people to distraction. The major agencies in London were united in their desire to half them by exposing their methods to rigorous intellectual examination. Doubtless Stanley Polit was also amongst those who felt that the tyranny of the research companies had to be broken.

However to attribute the emergence of account planning to his factor and its invention to Stanley Polit is wrong. Account Planning as a tool was created in response to another tyranny.

At that time, marketing as we understand it today simply did not exist. Nor did the marketing man. The advertising manager of even the larger companies tended to be someone who hadn't done very well in stock control (or some such department) and had therefore been shuffled into a position in which it was felt he could do no serious harm.

The standards by which advertising were judged were equally low-grade: get the company's name up big, as often as possible and tell people to buy, loudly.

It was Stephen King who suggested that people don't do what they're told and that the most important factor in advertising was not what the advertiser put into it but what the consumer took out of it.

From this simple thought there evolved the T-Plan ('T' standing for 'target' not 'Thompson' as many suppose). This document was to become the core of account planning and its variants can be found in use today in virtually every agency in the world.

Stephen King however was not alone in his thoughts.

Jeremy Bullmore, then Creative Director of JWT London, was his collaborator and thus the T-Plan was seen to be 'Creative-friendly' right from the start.

Bullmore was also the marketer of the new discipline as he is an awesome presenter and public speaker (in contrast to the unpresentable King) who illustrated and dramatised the new idea.

How do I know? I was there.

Mike Bennett Director of Advertising Studies The One Academy of Communication Design

Joelynn Chin A never-say-die, out-of-work copywriter

SOFRES FSA Malaysia announces its latest appointment Mr Peter Tan joins SOFRES FSA Malaysia as Media Director responsible for the setting up of a full media research services unit to serve the needs of the industry.

After graduating from University Science Malaysia with a Bachelor of Social Science degree he began his career in the media research industry with Survey Research Malaysia before being transferred to SRG Research Services in Hong Kong.

He then progressed to become the Director of Strategic Media Resources at Zenith Media China, based in Beijing. During his two years stint at Zenith Media China, he was instrumental in estab­ lishing an advanced media operation system for the agency.

MAAF's NEW LINEUP TAKES OFFICE...

At a recent Annual General Meeting (pic left) of the Malaysian Association of Advertising Film Makers (MAAF) at the PJ Hilton, the

Boo who?

Malaysia's newest and youngest film production house Boo Films opens its doors at 11, Jalan Menteri Utara 7/4, Petaling Jaya. "We are in the service business to create and communicate. The beauty and challenge of the ad industry is to pour equal amounts of art with information, add a dash of strong production value, stir and serve," says film producer Joshua Fernandez who can be reached at 012-267 1174. following office bearers were chosen: President - Gopala Krishnan, Vice President - Mustaffa Maarof, Hon Secretary - Joe Hasham, Hon Treasurer - Omar Abdullah and the Working Committee Members are Jamal Khir, Raja Aznil, S. Mohan and Sheen S. Singh.

Now you can read ADoi online at http://www.dreamworksskg.net/adoi.htm

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The world appears to be crashing down around us (or am I hallucinating?). A recent survey by ADoi revealed that 33 non-accredited advertising agencies have closed shop.

Saatchi has downsized to a skeletal staff of nine with its Singapore operation generating the bulk of its work now. Many leading ad agencies have also shrunk, pay cuts have been put into place and recruitment exercises have been frozen. Staff with jobs are wondering when they will face the axe.

Yes I know... you've heard it all.

But the fact is, this economic slump has set us back at least two years. Many companies on the upsurge early last year now have their wings clipped.

The good news is we are getting leaner, meaner and hungrier, working ourselves to the bone. That's why I'm looking forward to the annual Kancil Awards slated for August 21 at the Sunway Pyramid. Hopefully, the tough run so far will generate bolder creative work and stuff that challenges the status quo. When you're down there's no way out except up. When someone kicks sand into your face, the only thing to do is fight and stand your ground.

I know the coming Kancils will produce gems that will show us we can shine even in the face of budget cuts, apprehensive clients and uncertain tomorrows.

You'll also be pleased to note that ADoi is now available in the Klang Valley at fine bookstores like Times, MPH, Kino Kuniya and Page One for RM8 a copy.

And finally, I'd like to dedicate this issue of ADoi to my dear departed friend and fellow writer, the late John Machado. Thank you John for bringing a little bit of your magic into the Malaysian advertising world.

Respectfully, The Editor PS. Tarn to Page 13 for some good news in bad times.

iiiiide 6

Requiem for a No.l Client

8

Production Budgets: the cloth, the coat and cut

9

Commercial Sex

10 Kancil Awards 97/98 What's in store?

ESn

10 Guess what makes advertising work?

12 John Machado revisited 14 When crisis strikes...

EDITOR Harmandar Singh WRITERS Vivian Chong, Deane Johns.

PRINTER Times Offset (M) Sdn Bhd DESIGN & LAYOUT Chang Sheau Yun OFFICIAL PHOTOGRAPHER Jen Siow DESIGNER Chang Sheau Yun COLOR SEPARATION Courtesy of Far East Offset & Engraving

ADVERTISING ENQUIRIES ADLANTIS Communications Sdn Bhd No. 44C, Jalan 19/3, 46300 Petaling Jaya, Selangor.

Tel: 603-754 7271 Fax: 603-757 3343 E-mail: vylo@pc.jaring.my DISTRIBUTION Efficient Lettershop Sdn Bhd ADoi is published bimonthly by Sledgehammer Communications Sdn Bhd (Company No: 289967-W) 22B Jalan Tun Mohd Fuad 1, Taman Tun Dr Ismail, 60000 Kuala Lumpur.

Tel: 603-716 2588. Fax: 603-716 2598.

Š All rights reserved by Sledgehammer Communications Sdn Bhd. No part of this magazine may be reproduced in any form without 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. All advertisements are the sole reponsibility of the advertisers.

Letters and submissions to the Editor regarding topical news and opinions are invited. We also welcome information and pictures on industry news, personnel movements and any company developments of news value. You can send all your correspondence to The Editor, Sledgehammer Communications Sdn Bhd, 22B, Jalan Tun Mohd Fuad Satu, Taman Tan Dr Ismail, 60000 Kuala Lumpur, fax 03-716 2598 or e-mail: ham@pop.jaring.my

16 Shopping Habits Survey 97 20 Cover StoryWelcome Bolt of Inspiration!

22 The case for Techno Branding 24 A gathering of fools 32 Call it destinty 36 Making of Polo Mint TVC

Requiem

for a No.1 Client

Not numbering too many clients among my heroes, I was particularly saddened to read recently of the death of one of the great ones.

Lynn Townsend. The man who approved DDB New York's legendary "We're only No.2, We Try Harder" campaign when he ran the Avis Company back in the 60s.

I never met Mr. Townsend, but I admired him for having wonderful advertising. And perhaps even more for the management books he wrote: "Up The Organisation" and a later, much expanded version of the same, "Further Up The Organisation".

As the titles of his works suggest, they are not your average management manuals any more than Mr. Townsend was a stuffed-shirt CEO. In fact a good deal of the opinion and advice he offers in his books' brutally brief alphabetical subject listings would have most of the CEOs I've met both foaming at the mouth and groping for their golden parachutes.

For example (and I'm quoting from memory here, as every time I buy the books again somebody comes along and "borrows" them.

Forever) his position on Reserved Parking For Executives: abolish it.

If you can't beat your staff to the office in the morning, you don't deserve a parking space. On CEO salaries and fringe benefits: they should be modest if not downright low, and geared to performance. And most radical of all, perhaps, CEO tenure: every CEO should fire himself after 5 years.

There's lots more in this vein (in vain, too, from what I observe all around), but what really clinches Lynn Townsend his place in the pantheon is his WQU CQPl't section on Advertising. The key item in .' which is the set of rules he and Bill Bernbach DGQl yOUT not only agreed on for DDB-Avis interaction, StQ ff tO the but then had two signed copies printed rr. and then framed and hung on their respective OTTICG 111 TN© office walls. It's the most inspired guide (Doming, to client-agency understanding, respect j /, and partnership in advertising that I've ever yOU QON seen or heard anywhere. deserve a If only I could retrieve one of my copies -jr U j r* ri of "Up The Organisation" - and if there were * ® no such consideration as copyright - I could space. tell you the rules here and now. But better you get hold of the book or its sequel and read them for yourself. That way you'll be getting them first-hand, straight from one of the giants. Lynn Townsend of Avis. The client who gave new meaning to the words "try harder".

A Mark Direck Mystery:

The Case of the Curious Claim It was a Monday like any other Monday. Mid-day heat poured through the shaded office window that proclaimed my domain in bold, serif letters: Mark Direck Detective Agency.

Yeah, I'm a private dick.

And after a whisky-soaked week­ end like any other whisky-soaked weekend, the last thing I needed

after agency.

The friendly hellos. The credentials. The review of her brief. Their marketing strategy.

The creative presentation. The request for her business. And finally, the kicker. The fatal blow and beginning of a case that would be followed by case after similar case, the "Any Questions?" section.

we chose have disappeared!

When I agreed to take the case for my usual C-note per day plus expenses, she was nothing but smiles. Two shakes after she closed the door behind her, I was on the horn to a stooge I know who has specialised in Direct Marketing for more years than he cares to remember.

Read some direct response copy. Every sentence, every paragraph, every moment of time spent with words moves toward conviction and action. Direct response writers go for sales, not self entertainment. was the silhouette that stood before me, framed in an open door against the hallway light.

She was all business this dame, and her mile-long gams made their way into my visitor's chair before you could say, "Snub-Nose 38".

That's when I detected the uncut diamonds that passed for teardrops flowing down her perfect peach and auburn cheeks.

Between faint sobs she began her tale.

It all started in Malaysia, she said, after a day of marathon agency pitches just like any other day of marathon agency pitches. She and her hand-picked review team heard it all, agency

ADO/ 6

Her sobs began to sharpen.

"There were the usual queries, you know," she sniffed, "then I managed the Big One. I asked them all if Direct Marketing specialists would be part of the agency account team assigned to my business."

When the dam burst and diamond drops turned to buckets, I considered offering her a shot then thought better of it. This is no dame, this is a professional. So I snapped open a non-alcoholic spritzer left over from drier days and poured her a glass.

"Something is terribly wrong", she said, regaining her composure. "The Direct Marketing specialists promised by the agency

I caught him on his private yacht somewhere in the Caribbean.

"You talk, I'll listen," I muttered.

"Describe the person I'm looking for."

My stubby Number Two raced across a dogged-eared yellow pad as he yammered on.

Appearance, normal. Gotta look deeper. Ask them questions about Direct Marketing models.

About customer relationships.

Customer profiling. Customer niche markets and pinpoint targeting.

They embrace technology, ask them how. They are innovators through multiple channels, markets and media. They are more than tacticians. They are business strategists. They think: short

li

Kurt Crocker, Creative Directo) Drayton Bird, Crocker 3 Memo (DBC&M) Sdn Bhd

term sales and long term profits.

And you can spot a Direct Marketing creative specialist a mile away. Just look at a direct response press ad. The coupon will be big, bold and beautiful. Read some direct response copy. Every sentence, every paragraph, every moment of time spent with words moves toward conviction and action. Direct response writers go for sales, not self entertainment.

"That poor unfortunate woman," he added. "She should have met those 'Direct Marketing specialists' she was promised and examined their portfolios. But I wouldn't look too long for the missing persons. Chances are they didn't exist in the first place."

After I hung up the phone, I took some comfort with my friend Jack Daniels and pondered what I'd tell my client. To coin a familiar phrase, I'd tell her, "The Truth is Out There." All you have to do is search for it.

We can place your ad Just about anywhere.

Sure, we can place your ad in the press or on the air. But then, so can any other media buyer. So we offer fresh ideas about where, when and how to run your ads. To find out more please call us at: 03-423 3722. Or fax: 03-423 2304. media^partners

Everyone was more or less naked so costumes were not required.

But more than overcoming the problem it made a far superior scene as the swirling steam and the barely visible characters created a very oppressive and highly conspiratorial atmosphere.

It probably made the scene better.

In the current financial climate production budgets are on a lot of minds. I guess that's why people are asking how to make films on a low budget. Actually for me it's very easy. Begin by knowing how much you got.

It's strange but everybody seems to forget, sometimes too conveniently, that the major responsibility for the budget begins with the script. You'd be surprised how many creative people, account people and producers (and sometimes clients) proceed to writing a script without having the faintest idea of what kind of budget they have available. It's madness.

Any creative brief should have the production budget attached. If it doesn't you're fools for not asking. Would you go out to buy a car, or a house without having a budget in mind?

Would you walk into the Mercedes showroom and tell the dealer you have only $30k?

What could he show you?

He'd probably show you the door. Would you go buy a Proton with $200K? No, of course not. But if I had 20 dollars for every time I've asked at an estimate briefing, what the budget is, only to meet with blank stares, I'd be very rich. If I had 20 dollars for each time I've been told, "but the client refuses to tell us the budget", I'd be rich. And if I had 20 dollars for every time we have nevertheless prepared the estimate and then been told, 'Oh the client has told us that he doesn't have that kind of money,' I'd be a multi-millionaire.

And all because no one pressed the client for a budget, or perhaps the budget was ignored, while the script was being developed. If the client didn't know what the budget was how did he know it was too much. Keeping these kinds of secrets does no one any good, least of all the clients.

And then comes the best part. One has to listen to the crying and the pleading because the client is expecting the script he approved to be produced. The script that took countless meetings to agree, may have won a pitch and may even have gone through costly research has to be made.

A hole has been dug so deep that every­ one has to compromise because no one dare go back to the client and say he can't afford the wonderful script that's been written.

The process then becomes a painful search for ways of making the spot to meet the actual budget, usually regardless of quality. And almost, as sure as night follows day everyone will be unhappy with the result.

To really bring my point home, I'm sure we are not so silly as to believe that a big budget makes a great commercial. Money certainly isn't a substitute for creativity. Some of my favorite spots of all time have been low budget productions.

AD©/ 8

Production budgets

by Paul Loosley

the cloth, the coat and cut

The Hamlet Cigars golfer spot from the UK; a single set-up on a golf green with no cast except for someone waving a golf club out of sight from down in a sand trap.

The Hong Kong subway system spot about the speed of the train versus the car, which shows a single traffic light stuck on red for the whole 30 seconds.

Hamlet again; another single set-up with the guy in the photo booth from the camera's point of view as every snap is spoiled. In these cases low budget was certainly not a handicap; it could even have been a blessing.

My best 'adversity being the mother of invention' story regards Orson Welles movie Othello. With the whole crew and cast assem­ bled in North Africa, Welles ran out of money.

He was due to shoot the conspiracy scene in which Iago plots the downfall of Othello. It was to be filmed in lavish costumes on the battlements of an old Moorish castle. The problem was the costumes were in Rome and Welles couldn't pay for them. He also couldn't send the cast home; he might never get them back again. So what he did was inspired.

He set the whole scene in a Turkish bath.

Everyone was more or less naked so costumes were not required. But more than overcoming the problem it made a far superior scene as the swirling steam and the barely visible characters created a very oppressive and highly conspiratorial atmosphere. It probably made the scene better.

But how will I know whether I've written within budget? Well, the answer to that is simple too. Ask. Production houses keep reels.

It's the easiest thing in the world to ask how much a spot cost. Call up the producer or the director and ask. Even if they inflate it a little you will be within the ballpark. Naturally experience will tell you what can be gotten for how much. But even so keep asking. There's inflation and all sorts of variables. So, not only ensure you have the reels of the production companies, know how much their work has cost in the past.

In closing don't be fooled by people who say that you will get that Mercedes for a Proton price with offers of more work. Or smooth words like 'it will be good for your reel', or 'we'll make it up on the next job'. That's at the best self-deluding because no one can make those kind of promises. And at the worst it's very unprofessional. Face it, few production compa­ nies work for love so, unless you are remarkably lucky, they will cut cost somewhere to ensure they make a profit.

And you will lose in terms of production value. So there it is. Budget is a relative thing.

It's either right or wrong not too low or too high.

The coat is tailored according to the cloth.

And the golden rule remains; know what the budget is before you write a word, before you present and particularly before a production company is asked to bid. Otherwise, and nowadays more than ever, you are looking at a world of pain.

1997 TC~ 10

CIE

Billings (RM) 1. Bates Malaysia 2. McCann-Erickson 3. Naga DDB 4. Dentsu Young & Rubicam 5. Ogilvy & Mather 6. Leo Burnett Advertising 7. Grey Advertising 8. Peter Beaumont 9. Ammirati Puris Lintas 10. J Walter Thompson

161.8 million 146.2 million 135.0 million 133.9 million 130.1 million 121.0 million 90.9 million 89.0 million 88.8 million 86.5 million

* Released by the Association of Accredited Advertising Agents (4As)

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Unlike other ASEAN countries, especially those where Islam is the predominant religion, the Philippines has a relatively liberal attitude towards sex in the mass media.

Last year I shot a TV commer­ cial in Malaysia, a regional spot for airing in Thailand, Malaysia and the Philippines. Our last sequence showed a family of four, including a girl of about twelve, at play. I was surprised when the agency produc­ er suggested that the girl's knees be covered by a longer skirt hem.

He informed me that we had to play it safe because Malaysia's censors could object to any bit of exposed flesh, no matter how innocent, owing to the country's Muslim strictures.

Commercial Sex Unlike other ASEAN countries, especially those where Islam is the predominant religion, the Philippines has a relatively liberal attitude towards sex in the mass media. Roman Catholicism may dominate, even oppress the lives of Filipinos, but the legacy of Latin machismo, American- style democracy, and an openness to Western culture have made Filipinos less corseted about the subject than their neighbours in the region.

Local popular culture is rife with sex. Tabloids splash risque photos of starlets in various states of undress and burst with lurid stories of sex scandals and crimes.

Sex flicks are propping up the moribund movie industry. Dubbed 'TF' (for titillating films), they are cheaply produced, sometimes carrying double entendres for titles. The proliferation of these movies has often placed the board of censors in a tight spot.

Like the other mass media, Philippine advertising has its share of sexual depictions, mostly implic­ it. Recent examples are a couple of TV commercials featuring the sex

goddess du jour, Rosanna Roces. In a spot for an anti-fungal skin cream, the bare-backed endorser asks the question, 'What have you got to hide?' as shots of different bare-chested men look at the camera embarrassed.

The other commercial, for an energy drink, casts the freckled, half- German siren as a scantily clad jungle Amazon who ensnares a hunky adventurer.

Her captive swigs down the drink, suggesting that he needs its supposed stimulating properties to stay up all night long.

Hard liquor commercials almost always utilize sexual under­ tones, a strategy to appeal to the machismo of male drinkers. Hence, it is not unusual to see a bevy of pneumatic beauties on display astride a horse in a bikini, traipsing around in a diaphanous nightgown, cavorting in the pool.

The Adboard, a self-regula­ tory entity, oversees the approval of all TV commercials before and after they are produced. It is guid­ ed by a code of ethics. The section on sex disallows the indecent exposure of the human body.

However, it goes on to state that 'some exposure may be allowed when in good taste and relevant to the product or service being advertised'. Also outlawed are profanity, obscenity and vulgarity, as well as the exploitation of people as sex objects.

In general, the Adboard has been doing a creditable job in enforcing these guidelines.

Radio and print are exclud­ ed from clearance with the Adboard. While complaints are entertained, they are few and far between. No one raised a howl over a print ad for Swatch which showed a voyeuristic young man lifting the skirt of a faceless girl. Its headline? 'You turn me on'.

More recently, a motel chain advertised a workshop on a Taoist technique known to improve sexual pleasure.The ad was relatively small and I recall seeing it in a prestigious business daily.

It was far from offensive, but what struck me was its naughty double entendre of a slogan 'Make sure you come'.

KANCIL AWARDS 97/98 WHAT'S IN STORE? ADoi interviews SP Lee, Chairman of the Creative Council, Association of Accredited Advertising Agents Malaysia

Q

I hear Kauai Nite is 21 August, three weeks earlier than usual.

A Yes, we have to make way for this totally insignificant event, the Commonwealth Games.

Q

And at Sunway Resort?

A Yes, the one with all the animals on the walls. Makes you feel right at home. The 4A's booked this because we want 2000 seats. We also need a ballroom with no pillars because you don't want people walking into them. Shang seats only 1000, and that's never enough. And PWTC doesn't allow alco.

trickier. Many of those who are eligible don't want to judge anymore. Which is right. We need new blood. Of the 10 local judges, 7 have judged once to three times only. The other 3 are new. We put that to a vote and the candi­ dates for senior judges are Thomas Low (OT), Elmo Lee (Bates), Janet Lee (Copycat), Edwin Leong (Grey), Steven Ang (TH Film), Leonard Lee (Asatsu), Paul Grezoux (McCann). New judges are Alex Lee (LB), Yap Pow Hoong (FCB) and David Sin (O&M). We wanted to have more new judges, but those nominated didn't meet the criteria.

Q

What's the criteria to be a judge?

A WeU, for internationals, that's easy. You have to be more famous than Mike Tyson. Preferably with experience in Asia. Malaysians need to have won Kancils and/or international awards 3 years in a row. Not easy, not even for Tyson.

Q

You have been involved in judging or presiding over the Kancils the last 5 to 0 years. What do you like most about it?

A 1500. That was the estimate 3 months ago. Now I'm not sure, with all that's going on. But, you got to keep your chin up. I think the fact we have no budgets, no water and no clean air are good reasons to treat our­ selves. The antidote for bad times is a good time. That I hope we'll have on 21 August.

A 2 things. First is watching people win. Especially new young writers and art directors. Especially from smaller agencies and those that are not known for being 'creative'. And I don't mean that in a condescending way.

I like underdogs and I like surprises. There was a year when 16 agencies walked home with something. That was a good year. Second is listening to the views of all the judges. You hear new perspectives, new angles, new opinions, new arguments. The three days of judging is the most intensive learning course you can be exposed to. It's exhausting and exhilarating.

In fact, it's so tiring I skipped judging twice. I'm happy to chair the judging, sit back and watch the fireworks.

Q

Q

How many entries do you expect?

Q

What was response like the last few years?

A

Good. 800 + in 94. 900 in 95. 1000 in 96. Over 1200 in 97.

Q

Any jitters, the kind you have leading up to a big event?

A I hope the turnout will be good. As I said, we need a lift. Right now, we're concerned for those who have lost their jobs. I hope agencies who can, will help those who have been laid off. We need to help each other in such times. A few people who have been made redundant will be using their own money to send in their work through their old agencies. It's wonderful to see such spirit. I hope we don't lose talents to other industries or other countries. Many will be forced to seek work outside advertising. Or in places like China.

Q

Are there new categories?

A The Student Award attracted 130+ entries last year. So that stays.

This year, we're adding Poster, Poster Campaign, Outdoor/ Transport, Direct Marketing. Direct Marketing Campaign and Website Design.

Q

Who are the judges?

A Internationals are Suthisak Sucharittanonta of Results Thailand (who is being wooed by BBDO Bangkok), Tomaz Mok of McCann China and Tony Brignull, formerly of DDB and CDP in the UK. Choosing the local judges is

Guess what makes

| by Solomon Morais \

advertising work?

It's not people - not the balding creative guru, the number-crunch­ ing media genius, or the suit in mission control orchestrating the launch. It's not even the forwardthinking client that always takes the side of the agency. Not the client's great product or service.

the limbo - how low can you go.

(Agencies too are doing the same to suppliers.)

Seems it is not brand-building that matters, or striving to maintain top of mind awareness at the expense of every other objective a balanced campaign would seek to

Do you think the judgings are fair?

A It's fair in that you can't vote for your agency's work, or the work of the agency you were last in. Beyond that, you have to look at it objectively. Look at all the awards - from Cannes to D&AD and Asian Awards - and ask yourself if you agree with all the work that made it. You can't possibly agree with all the choices. It's the same with the Kancils.

I personally think I agree with say, 70% of the judgements. But that's the way the democratic vote works. You can't make everyone happy all of the time. You can only try to make most of the people happy, most of the time.

Take political elections. If a government is voted into power by 51%, doesn't that sort of mean 49% don't agree with the results? Democracy is a strange animal. Then you have those who say, 'Hey, my ad was a finalist in Cannes. How come it got nothing in Kancil?' Well, there are tons of ads which won something somewhere and won nothing elsewhere. If you send an ad to 5 awards and it wins something in 3, you know that ad is good.

If it wins in only 1, you know it's kind of suspect. Anyway, I feel we should be more unselfish. The objective of the Kancils is to raise standards. So it's very nice to see good ads winning, even if they are not yours. We can't be so bloody kia-su. It's nothing wrong cheering for another agency. They are your friends and you applaud them for doing good work. sen Ringgit. Build goodwill. These hard times are not forever. When you do business with integrity and go the extra mile, people will remember it and stay with you in the good times. Be assured that they will remember equally any slithering you may have done in the tall grass.

Resist becoming chopperhappy. Cut cost for a purpose - to save money for the client so that he will be able to stretch his budget

When you do business with integrity and go the extra mile, people will remember it...

It's not even that most democratic of criteria - choice exercised by the consumer in the marketplace.

Child, it's money.

Now that it's in short sup­ ply, and with the oomph knocked out of what's left, money has elbowed its way to the forefront of the client-agency relationship.

Clients are awarding assignments based on quotations that can do

ADO/ 10

achieve. The long-term view seems to have evaporated in the face of the dire need to hold on to whatever cash there is in the kitty.

And it's not being helped as more people take advantage of the situation by claiming not to have any cash available. So what can we do? There're things we can do as advertisers, agencies and suppliers to live through the era of the 50-

and give his product or service a lifeline; make the effort to find a supplier who will not compromise on quality just because he is willing to slice his own costs; reward your staff for their hard work and loyal­ ty in the good times by keeping them on with pay freezes or cuts; and yes, remove the deadwood, because they are a waste of money.

The suggestion is that merely

saving money as a reaction to the current situation could very well cost you dearly in the long run.

Take another look at the way you work. Are you a big agency that insists on an internal work flow system with the same turning circle of the Titanic? Watch out, there're many lean and swift agencies with hands-on heads of dept. that could sink you. Are you a marketer cutting back on your retailers' margins just so you can protect your own? Are you a manufacturer with nothing but premium brands? It may be time to truly cash in on your image by introducing a quality brand with a non-premium price, and publicised as dedicated to the newly cashstrapped.

Change.

Adapt.

Improvise. Innovate. Morph. Shift gear. Move. Be re-born. Side step.

Colour the rules.

Switch.

Revolutionise. Substitute. Replace.

Buy a thesaurus. But just don't roll over and die.

So, liow can the smallest agency in town already be bigger than Burnetts, Bates and Ogilvy ?

Combined Big in London, huge in New York and massive in both Sydney and Singapore.

of r.xt:ci\/

Teeny-tiny in K.L. We're an Agency called OT. No, we're not another MNC opening its doors in K.L. to teach the 'local' boys how to do it. We're actually two local boys ourselves.

Who happen to have our names on a rather large amount of internationally acclaimed advertising.

Over just the last couple of years you'll find we've been responsible for 3 Gold, 6 Silver and 2 Bronze at The New York Festival, two London International Statues, the odd Clio, 2 Australian AWARD gongs, a Grand Prize at AdAsia, 3 Media Spikes and a barrowload of other commendations.

Which, if we were anal enough to count them up, would mean we've won more than all the top agencies in Malaysia put together. Yes, put together.

Makes you think doesn't it ?

Well, OK, it may make you think, the next time your agency boasts about just how 'creative' it is. Pointing, no doubt, to their impressive wallpaper....er, sorry, Kancil certificates.

But, of course, awards are far from the be all and end all. To us, they are simply an indication of how the biggest names in the advertising world think we measure up. (Kind of like an I.S.O. 9000 for the advertising industry, if you like.)

A TINY NAME TOO. So what exactly, apart from world class creative work, does OT stand for ?

Outrageously Terrific ? Outstandingly Thoughtful ? Overwhelmingly Tiny ?

Well, perhaps, but it is also simply short for Omar & Thomas. Omar Shaari and Thomas Low. The two principals of the agency born and bred in Malaysia but with experience much further afield.

Which brings us rather neatly to our Unique Selling Proposition: The Very Best Of Both Worlds.

World class thinking (that's why we were harking on about those awards) and

Mmm, now you mention itDo I find myself pushing them for innovative ideas ? How responsive are they ? Who exactly is paying for that boardroom table ! And finally...what is the harm in checking out a different way of doing things ?

We'll let you ponder those for a little moment.

a service and insight with a truly genuine local perspective.

Put your feet up. Have a cup of tea.

Relax.

And that's still only part of the story.

Ok ! You're 100% satisfied! Super, well done. You'll probably want to skip the rest of this then.

(Because, shove a few ageing expats in any MNC and we guess the biggies could also claim the above.)

We're also an Agency that has all of these qualities in one beautifully formed, perfectly proportioned,deliciously efficient little package.

An Agency that can focus its resources to give you a dedicated and personal service plus a proven professional track record to offer your brand the quality it deserves.

Beginning to sound just a teeny-weeny bit interesting ?

We thought so too.

SO, DOES BIG EQUAL BAD ?

Certainly not. And, of course, small doesn't necessarily mean good.

There are undoubtedly some very good, very big agencies out there. (We know, we've worked for them.) And also some pretty terrible small agencies.

We're neither. Let us explain why.

Let's just assume your account is with a big shop with a very good reputation.

(You knowj nice carpets, shiny reception, painfully subdued lighting and a board­ room table the size of North Korea.)

Aren't there still a few questions niggling at you now and again ?

Like...Is my account the most important account at the agency ? Am I their first priority ? Or 21st ? Do their best creative and account people work on my brand ?

Or is it the junior team and interns ?

Why do I only see their top guy every two months at lunch ?

It's the sales pitch next.

THE SALES PITCH. At OT you will be working with all of the top people all of the time.

What you see is what you get: the expertise that's advertised on this page.

Which also has the rather pleasing advantage of you only paying for what you see-not the other 140 agency staff who do...well, whatever they do.

You get the tacticians, not the troops.

The brains, not just the bodies.

Brains that have worked on and created quality advertising for the likes of BMW, Philips, Singapore Airlines, Intel, Pepsi, IBM and KFC. All in all, we think it adds a rather interesting new choice to the Malaysian advertising scene.

We admit it's not a new thought. It's not a radical idea. A lean, efficient core of proven talent working on, and dedicated to, your brand.

Our difference is the huge, colossal, vast, immense and gargantuan difference between theory and practice.

Our set-up is compact and talented enough to actually deliver on the promise.

Well, doesn't every great big idea, start small ? lb find out more contact Omar Shaari at 03-724 1152, fax: 03-724 1150 or e-mail: omathom@pc.jaring.my

by Peter V. Y. Lo

Draft Synopsis Halley's Comet illuminates the battleground, as the Danish horde breaks through the Celtic wall. Flying above bloodied torsos, atop his magnifi­ cent white steed, Bjorn unleashes his broadsword like an interconti­ nental ballistic missile. ECU of a full longbow model 1066AD. A sinister 'TWANG', and the arrow splits the air. Camera follows through, arrow plunges into Bjorn's thigh. Jolted and bleeding profuse­ ly, he whips the metal shaft like a leash, dispensing many more extras (infantrymen). Piedro Lovinus, the perpetrator and chief mercenary to the court of King Harold, orders the retreat. In a pain tolerated only by immortals, Bjorn Machadossen reaches out and fires the infamous arrow. CUT. The new king, William, knights Bjorn. CUT. ECU on product shot - Typical garbage I used to pen before I worked with John Machado.

The late John Machado taught us to focus, to be better than what we are. He influenced great changes in my approach as a profes­ sional, much more than anyone else did in my entire lifetime.

Postscript 1984 I had never met John Machado. He j came on board in 1986. The agency however, was littered with the legacy of his previous CDship in | the late 70's. 'Anchor- The original taste of beer'. 'Winston - Reach for Flavour'. There were three CLIO | statuettes in the conference room with John's name on them, so too did many, many creative awards on the wall.

Scene One: Jan 1986. ADDAUDIO. Voice announcer: John Machado | Copywriter: Peter Lo Producer: Rosalinda Chick Studio Engineer: Eng Radio Script: 30 sees.

I Creative Award: 6As Silver Peter: John please watch your : diction. One more time let's go.

Eng: Take Eight John: DHL. You couldn't express I it better.

Peter: Perfect, John. Thank You. Eng: Peter, you're crazy. John Machado never goes beyond take 3.

ADO/ 12

John Machado revisited Scene Two: 1986. Ted Bates KL. John Machado made Creative Director for the second time. Open on CU of John Machado talking cheek-to-cheek with Peter Lo, 'I want it tomorrow morning at 9am, not 9.05. Nine sharp, El Piedro.

And it'd better be good.' John used to call me El Piedro for some strange reason.

Scene Four: 9am sharp, next day.

Peter Lo (Piedro) sings storyboard to John Machado, 'You and I, we've been together for a while, there's always time for a smile. You and I, (chorus) Dutch Lady., it's a good life, we're having together, Dutch Lady and I.1 Script: 40 sec. TVC Creative Director & Voice: John Machado Copywriter: Peter Lo Art Director: Kenneth Ng Film Director: Barney Lee Creative Award: 6As Gold.

Scene Thirtv-Six: 1987. Ted Bates.

Peter Lo: 'Mach 5. It's powerful and it hits you in the guts... John, your fingers are twitching.'

Kenneth Ng: 'The pack is black GUM METAL BLACK, shaped like a piston.'

The Petronas account earned Ted Bates the most number of creative awards in its history: 6A's Gold, Silver and Bronze, 6 finalists 2 London International Advertising Awards Finalists 6 CLIO Finalists At the 6A's 1988, Ted Bates picked up more creative awards than any other advertising agency, eclipsing traditional topdogs O&M. Production Notes 1989: In 18 months, Ted Bates had won all the new business pitches there was to win, growing from RM20 million (quoted) to over RM60 mil­ lion. The agency won creative awards for many client portfolios including Electrolux, Petronas, Dutch Lady Full Cream Milk, Kingsway, John Player Special, Benson & Hedges, B&H Special Mild.

Insert Scene from 1988: 'I believe we came from this chaos called the cosmos and one day we will return to that same chaos.' I had a hard time digesting my curry puff and John's thought at the same time. It was 9.30pm at the bar

of the Marco Polo club and John and I were catching a fast bite while the backroom boys were putting together the next presenta­ tion.

Climactic Scene: November 97.

John Machado and I did lunch today at the Nadaman Restaurant.

To celebrate my birthday a month away, John insisted on buying. 'OK John, I'll buy the next one.' We talked about how it would have been if we had more time together at work and at play.

I thanked him for his kindness in giving me the chance to shine in my work. For once he didn't offer me a job. Cleanly shaven, I had not recognised him at the table and I had trouble with his sense of easiness and lack of timeframe. Was he was saying goodbye then, I wonder.

The late John Machado taught us to focus, to be better than what we are. He influenced great changes in my approach as a professional, much more than anyone else did in my entire lifetime. When we do meet again, our next dine at the Nadaman or anywhere else in that chaotic cosmos, will be on my tab.

Footnote: As Creative Director of Ted Bates, John Machado discovered many young talent, bringing out the best in them. The most effective pair he had put together was probably two young, obscure creatives: Peter V. Y. Lo (writer) and Kenneth Ng (Art Director) as his pitch team. Today Kenneth works at O&M and Peter runs his own ad agency, Magicmakers.

If you are a Look lover witk a taste for tke rare and unique, you migkt ke interested in acquiring a volume of Signed First Editions.

jokn Mackado kad a collection of mint condition leatker kound volumes - many of tkem Signed First Editions wkick we are releasing for sale at a special price to agency staff. A selection of laser disc movies are also availakle.

Fbr a complete list of tke kooks and

LDs,

please contact: Ms Nelly Ku JM Creative Sdn Bhd 11 G&M, Medan Setia Satu, Plaza Damansara, Damansara Heights 50490 Kuala Lumpur Tel: 03-253 3611 Fax: 03-253 8516

V V V V V V So you are retrenched...

No job, no pay and nowhere to go. Word has it about 1000 people from the Malaysian ad industry have been laid off since the beginning of this year.

That's a pity... and a waste. Some of these people are talented and seasoned with many years of experience in the marketplace. You could be one of them. Or you know of ex-colleagues, friends or relatives who are now out of work. And whose bills are slowly piling up. Well, this magazine wishes to take the first step to help. We will try to get you a job which may not be in an ad agency. But in a place where your experience and judgement will be valued. A factory that needs your marketing input. A hotel that could put your talents as a communicator to good use. A departmental store that could benefit with your ideas on promotions and presentation. A school that could tap on your knowledge for its students. A direct selling organization that could really gain from your network . And the list goes on.

If only we thought outside the box, if only we did not demand boom time salaries. If only we gave ourselves a second chance. Remember, there is life after advertising.

Fax your CV and a cover letter stating your ambition to us at 03-716 2598.

All correspondence will be kept private and confidential.

As the economy slows down, marketers are faced with the uphill battle of moving their products off the shelf.

In good times, they could afford to build brand image and equity above the line and sell, sell, sell below the line.

The chicken and egg situa­ tion they face is how to maintain brand values and slug it out against the competition when the budget is steadily shrinking.

The natural inclination is for brand building to take a back seat. But there is documented evidence which demostrates that brands which stay strong during recessions emerge even stronger when the recession is over.

According to Grey Malaysia you can have it both ways.

Demonstrating its commitment to this tenet, Grey Malaysia has taken the initiative to publish a booklet entitled, 'Certain Solutions for Uncertain Times'.

Written by Grey Malaysia's Executive Creative Director, Jeff Orr, the booklet provides advertis­ ers an insight into maintaining their brands visibility in tough times through innovative and integrated communications

techniques either standing alone or in conjunction with mainstream advertising. This includes the use of public relations, promotions, direct marketing, and merchandis­ ing techniques.

Varied approaches are clearly explained, using different disciplines or a combination of

taught marketers the value of maintaining a strong advertising presence while their competitors are cutting. But, tell 90% of brand managers that and they'll say 'show me another way, I'm the one who has to cut back'."

Jeff Orr added, "That's what the booklet is all about, another

Grey Malaysia has taken the initiative to publish a booklet entitled: Certain Solutions for Uncertain Times.

Maintaining Brands in hard times through An Integrated Approach disciplines, to achieve short term sales boosts yet maintain long term brand values.

Said Jeff Orr, "Reduced budgets during these lean times are an inevitability for many brands across many categories which means they must approach spending with a different mindset.

Consumers also have a different mindset. They look for value more than ever and will often be tempted to compromise on quality. So how do brands, espe­ cially high value brands, keep those customers and maintain their integrity at the same time?"

"Previous recessions have

way, in fact several other ways to produce communications which are more focussed on building sales on reduced budgets and making sure that every dollar spent is accountable, without losing any momentum on building brand values."

"It's not rocket science, it's stuff we all know, or at least should know, but need to pull out of a dusty corner of our experience and polish up," he concluded.

The booklet fully mirrors Grey Malaysia's philosophy of "Total Communications, Totally Integrated".' Grey Malaysia is not just an advertising agency. Apart

from above-the-line, traditional advertising, it also offers belowthe-line communications - Public Relations, Promotions, Healthcare, Direct and Merchandising - under one roof.

'Certain Solutions for Uncertain Times' will be distributed to most of Grey Malaysia's existing clients as well as potential ones.

Interested advertisers may contact Grey Malaysia to receive a copy with compliments. Just call Grey Malaysia's Managing Director, Mr John Burbidge, directly at 03-263 6639.

WHEN CRISIS STRIKES ...

Jean-Paul Sartre's now-famous statement, Hell is for others, aptly describes most companies' attitude toward crises. We often convince ourselves that a crisis will not hit us ... and watch in sheer gratitude as it strikes others.

A crisis is all about a situation of importance with the potential to reflect negatively on your company. Crisis management, on the other hand, is about identification, control and management of this situation.

Consequently, communication plays a vital role.

Indira Nair is Six steps to managing a crisis are wisely sum­ Managing Director, Edelman Public marised in the following...

Relations, KL. Avoid the crisis: Obviously this is the ideal. But we don't live in an ideal world. Prepare to manage the crisis: The key to successful crisis management is being prepared.

Recognise the crisis: Remove the blinkers and face the crisis head-on.

control. But the information flow around 'when, where, what' was appalling.

In some instances, water supply was not returned at the stated time. In other cases, tankers were not where they were meant to be. And if they were, they didn't have enough water. Hotlines functioned more like 'phantom lines', you could not get through to anyone. I can go on, the list is totally exhaustive. Could we have managed this better? Obviously.

Communications is not a complex issue. Sometimes the simplicity of it can actually confuse people!

The media, a great channel for reaching the masses, were more than willing to play a role. Some basics that could have been applied in managing the water crisis include: Centralising and controlling information flow. Keep rumours at bay disseminating information in a timely and planned manner.

Create a crisis management team. This team should be identified well in advance of a crisis and should comprise of people from cross functional units.

Identify the problem. Clearly define the problem and determine

A crisis is all about a situation of importance with the potential to reflect negatively on your company Contain the crisis: Control the situation. Stop the hemorrhaging. Resolve the crisis: What's the best solution? How can we have a win-win situation?

Profit from the crisis: In every situation there is an opportunity. How can you maximise this?

In carrying out each step, communication is of prime importance: to form attitudes and views and to ensure our stoiy is told. When we don't com­ municate, we indirectly say (from the receiver's point of view) that we are guilty.

So, the issue is not whether to communicate or not, but how and what to say.

In Malaysia, we have been facing a series of crises. Think about it, any situation which you are unprepared for, can be a potential crisis.

Lets look at the water crisis. What were people's main frustrations?

The big irritation revolved around: when, where, what. The how and why, while questioned, were accepted to a certain extent as being beyond our

ADO/ 14

short-term and long-term implications. Make short-term concessions.

Giving in a little, in the early stages, to help contain a crisis has often been found to be a life-saver. Avoid aggressive behaviour. No one wins a shout­ ing match. Prepare for the worst. Ensure against being caught out. Work with the media. The journalist is in the business of news. He is looking for information, not propaganda or advertising materials.

Be prepared. Nothing is more crucial than being totally prepared before facing the people you are going to communicate to.Choose the right spokesper­ son. Don't force a media-shy person in front of the TV cameras. No one gains from this. Gain allies. A crisis can build relationships that last a long time. Next time you are faced with a difficult situation, remember how you felt when the water crisis hit you. Don't do onto others what you wouldn't do to yourself.

WHAT EVERY PAUL, GEORGE & RINGO NEEDS.

Shopping Habits Survey 97

To understand the impact of these changes among consumers, ACNielsen Malaysia interviewed 1,500 Malaysian shoppers throughout the country about their shopping habits, attitudes and preferences.

key selected categories), the tradi­ per in creating a pleasant shopping Malaysia's buoyant economy in tional Sundry/ provision shop experience. the last few years has resulted in remains a "staple" outlet for food Monthly expenditure on an increasingly competitive retail­ and groceries, with nearly threefood and groceries for the typical ing environment. An explosion of fourths of shoppers saying they are household is just over RM400 per shopping complexes and mega regular patrons. month, which on average is about malls, more sophisticated retailing Wet markets also continue 30% of total household income. practices, and continuous bursts of to play an important role in marketing activity GROWTH IN SHOP TYPES REGULARLY PATRONIZED (1995 -1997) the Malaysian shopping by both retailers environment, with about and manufactur­ two in five shoppers consid­ ers have opened D 1995 ering themselves to be 'reg­ up an overwhelm­ a 1997 ular' patrons. purchasing, half say that it also range of ing affects their brand, item and store The hunt for value and choices to the choice. convenience. Reasons given average Malaysian

by Malaysian shoppers for Wherever they shop, the shopper. increasing supermarket and typical Malaysian shopper is Hypermarkets Supermarkets Wet Markets Sundry Prov. Shops To under­ hypermarket patronage are growing ever more price and value stand the impact primarily about finding more conscious.. Many now say they are of these changes value and convenience. buying less expensive goods as well Modern outlets are now part of among consumers, ACNielsen as more products on promotions or Supermarket shoppers shoppers' routine.

The increasing Malaysia interviewed 1,500 on offer compared to one year ago. furthermore choose specific out­ number and accessibility of the Malaysian shoppers throughout the lets to patronise based on the level more modern shopping outlets like In the current economic country about their shopping of value and convenience provided. supermarkets and hypermarkets climate, we would expect percep­ I habits, attitudes and preferences.

Specific factors chosen by half have led to their greater accep­ tions of price and promotions to be The findings indicate a move toward or more of Malaysian shoppers as even sharper than they were when tance and use. value and convenience as the most driving their this survey was undertaken in important drivers of Malaysian A third of choice October last year. shopping behaviour. of Malaysian EXPENDITURE ON FOOD & GROCERIES outlet are ACNielsen is currently housewives | Malaysian Shoppers - Profile & Average Monthly H/H income VS variety of conducting further research to are now regu­ Expenditure. The total number of , % spend on Food and Groceries RM 4000 goods, sav­ pinpoint how consumers are react­ lar supermar­ household shoppers in Peninsular ings, prod­ ing in the face of "belt-tightening" ket shoppers, Malaysia is estimated at 3.2 million. uct displays, and economic uncertainty. compared to While the majority are female fast check­ only 1 in 10 (75%), a sizable proportion of those This survey provides trend­ outs, com­ three years claiming to be responsible for ed information to help marketers fortable ago.

While household shopping are male (25%) and retailers make informed shopping still small in - perhaps a sign that domestic decisions on targeted marketing right and absolute chores are no longer seen as the activity to gain and maintain location. terms, the sole responsibility of the housewife! market share in an increasingly V RM500 RM501 - RM 1000 RM1001 - 2500 Above 2500 number of dynamic market­ In talking to those shoppers PRICE CONSCIOUSNESS (1995 - 1997) regular hyper­ place. For more who regularly patronise supermar­ 1995 market shoppers has more than information on this kets/ hypermarkets, this does in A 44% tripled since 1995, signaling an important study, fact seem to be the case as most important trend towards prefer­ contact Sharon supermarket shopping trips are a \ Am generally Am generally 8% 7% A„, V 12 /o pj jy g b l ence for one-stop shopping and picking brands that DeVane, Research family affair. About half of super­ are much higher value for money. less than I used Director ACNielsen priced than I used 1997 market shoppers have their spouse to choose (»%) Malaysia.

Although the value of con­ bear the chore with them and one/\ rr*r—re*r 19% sumer purchases from supermar­ fifth will also have young children ACNielsen kets and hypermarkets has grown below 12 years old in tow. Retailers Malaysia is the tremendously (and now accounts thus need to cater to the needs of most established 1995 1997 for more than half of purchases in more than just the primary shop­ market research Base: All marketing housewives aged 15-60 ('000) 3264 3120 1543 1466 Actual no. of company in Asia, VALUE CONSCIOUSNESS (1995 - 1997) offering full service capabilities Retailer marketing activi­ across retail measurement, media 1995 ties also impact shoppers' choice of A38% measurement and customised outlets. research services.

Mail drop coverage is quite ACNielsen now offers 3% \-1fm ^ - ^0% Am buying Am buying less high, with 71% of regular super­ services in over 90 countries, and from prmotions market/hypermarket shoppers say­ promotions with with an annual revenues of US$1.4 with give-aways/ give-aways/ ing that they have received mail prizes/ offers of billion, is the global leader in deliv­ prizes/offers of extra product, extra product, drops. However, newspaper ads ering market research, information etc. etc. appear to be more effective in and analysis to the consumer 15% encouraging shoppers to purchase products and services industries. products/brands or to visit particu­ 1 2 3 4 5 6 7 lar stores. Of the 60% of regular supermarket shoppers who say 1995 1997 they check newspaper ads before 3264 3120 Base: All marketing housewives aged 15-60 ('000) c

Actual no. of interviews

ADO/ 16

1543

1466

n

ranc s

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c

CD

-o

the president speaks

by Vivian Chong

Tony Lee, President of the 4As (Association of Accredited Advertising Agents Malaysia), spoke to ADoi about how the ad industry is faring in these trying times.

What have you got to say about the ad industry presently?

Looking at the 1st quarter, (January February and March) the industry overall has reduced by about 30%. But that's not a true indication, if you ask me. Maybe because we had the twin festivals. Normally we have two retail turns of activities - one for Chinese New Year and one for Hari Raya - this year they were married. Also, because many advertisers and likewise consumers were a bit paranoid with this downturn, so they held back. But since April, it has been on the upswing. At this point in time, we're talking about May, I see very encouraging signs of growth.

What will give the industry a boost?

The Commonwealth Games will definite­ ly help the advertising industry, because there will be lots of activities around the Games, you can already start to see it now. We also have the World Cup. Many of the sponsors are doing business in Malaysia, and therefore they have to advertise and promote. We also had NTV7 this

year, so the battle for advertising in TV stations is really heating up now.

How are other media owners helping?

You will see more media owners coming out into the playing field, with schemes to incentivise advertisers as well as agencies.

How about ad agencies? The outlook..

There has been a lot of retrenchment, pay cuts as high as 30%. A lot of good people are now left without work. Agencies are all restructuring and reinventing themselves. I also foresee that agencies are holding back on training, and buying of new technologies.

What will come out of all these?

Quality will become of premium value.

With existing clients, quality will be stepped up in areas of client servicing, delivery. So I believe that the industry will come out much stronger.

You can say that it's a blessing in disgui; . You find that there are many new innovations, new ideas. More creativity.

What is your advice to the advertising agencies in facing these hard times?

We are in immediate need of high-calibre individuals to join our team.

1

Add value to the services provided.

Manage your cashflow well. The biggest amount of cash is paid to the

media. So clients should pay up. Sit down with your clients and make sure they understand the impact of paying late or dragging payments.

So communicating is important...

Yes, I call upon all media owners to work together with advertising agencies. Let's spur the industry, keep the momentum going, be collectively responsible and help each other out in the financial aspect. I, as the President of the 4As, will be leading a delegation to the media owners. I am optimistic they will respond well.

What about the advertisers, how far do you think the advertisers are affected?

What is your advice to them?

The first thing they cut is advertising, that's a wrong move. Advertisers who continue to advertise, their brands will continue to build so when the economy turns you'll be the first the consumers remember. Be prudent and continue to advertise, even though you might have to do things differently.

Do you see any trends emerging in the market now?

Advertisers will stretch their advertising ringgit by buying smaller advertising spaces or making shorter commercials. Another trend would be the reduction of production workforce.

Advertisers may opt to use back their old materials rather than come out with new ones.

Is there anything else you would like to add?

I urge all 4As members not to forget our Kancil awards. We should support our own awards show. This year the awards will be held earlier, on August 21, because we have the Commonwealth Games in September.

SfininrAnmintMnnaaer Highly organised, confident, motivated and analytical Minimum 4 years experience in the advertising industry University graduate with a communications qualification preferred A team leader Committed to take overall resposibility for providing a rapid turnaround of good work to our clients A good knowledge of media and production techniques will be advantageous

Media Buyer

Highly organised, confident, motivated and meticulous • Minimum 3 years experience in an advertising agency media department • Good negotiation skills, and written and spoken English • Resourceful and able to work independently • Computer literate with hands-on experience M Media planning experience an advantage

Copywriters

, English & Bahasa Malaysia (full-time/part-time)

• • • •

Excellent language skills Great sense of humour Ability to conceptualise Fast turnaround time Good presentation skills

Call or fax Francine at: The First Edition (P) Sdn Bhd 10-1, Jalan SS7/16, Kelana Jaya, 47301 Petaling Jaya.

Tel: (03) 777 0763 Fax: (03) 777 3993

This highly impactful sign is sure to turn heads, day or night.

Landmark Outdoor Ad Hits City Centre!

Outdoor advertising company Ganad Media Sdn Bhd recently erected the largest outdoor ad in the city, located at the cross-roads of Jalan Sultan Ismail and Jalan Bukit Bintang. Produced with the latest in digital printing technology using a unique paint dot delivery system, it measures 40 feet by 80 feet. Poised just above the McDonald's restaurant, the Marlboro Sports signage commands the attention of thousands of people around the clock from the moving traffic below. Says Mr K H Cheng of Ganad Media Sdn Bhd, "It was a monumental challenge but we and the client are pleased with the results."

Ganad, a homegrown Malaysian operation, also has offices in Thailand, Cambodia, Myanmar and Shanghai.

ADOf 18

PHOTOGRAPHY BY JEN SIOW JEN STUDIO TEL 03-7186227 FAX 03-7177005 EMAIL jensiow@pc.jaring.my WEB PAGE http://www.mol.com.my/jensiow

I found. FCB very

o

ambitious and I liked that.

cn

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I was really captivated hy that opportunity.

Foote, Cone & Belding (FCB) Sdn Bhd has never been the same since Simon Bolton arrived to take over the operations two years ago.

The agency awoke like a sleeping giant and things just started to fall in place from day one.

With Simon's energetic determination, it went on a new business drive and chalked up a successful streak that saw FCB clinch blue-chip accounts like Mercedes Benz, Sunquick, Telekom Malaysia, Siemens, Yellow Pages, Cygal, MRCB, 3Com, TMTouch, Suria KLCC and more.

FCB's new business wins are much talked about amongst local ad circles and much of this is credited to the man who dabbled in journalism and was cooking things up even before looking at advertising as a career. In fact, Simon spent a year travelling all over India working as a chef in restaurants. His first job in advertising was at Ogilvy & Mather (O&M) London in 1982 and he tasted glory in the first five years after working on two major award-winning campaigns - Air Canada ('Flights so good you won't want to get off') and Spillers Winalot Prime ('The long march'). In 1987 Simon was transferred to Bangkok to head O&M's Account Management Department driving accounts like American Express, Bristol Myers, Kraft General Foods and Seagram. In 1991, he returned to London and was promoted to Deputy Worldwide Management Supervisor for Shell globally A year later he led the agency's success­ ful repitch for American Express in Europe.

After that, Simon ran a core-team to serve American Express in many markets and helped launch the award winning 'Testimonial' cam­ paign in New York.

In 1995, Simon joined FCB as International Client Services Director and led the development of a new worldwide positioning for FCB shuttling between Chicago, New York and London. And of course, in 1996 he came to KL to relaunch the FCB brand and network in South East Asia. Simon is also a qualified NAUI Divemaster.

What made you join FCB after so many years at O&M?

I enjoyed my time at O&M. I also found FCB very ambitious and I liked that. It's like the Titanic, it's got these amazing jewels that are

ADO/ 20

down there somewhere but only if you look real­ ly hard you'll find them. I was captivated by that opportunity. The other thing that impressed me was I found the people at FCB have a tremen­ dous thirst for knowledge and to want to really understand the consumer.

What struck you most on your first day at FCB here ?

Spirit. There's great spirit here. The first thing I said at my first meeting with all the staff was, "Whatever you dream, I'm sure we can achieve it. Don't think of me as a Managing Director, just regard me as a team leader." I then spent two weeks in every department of the agency getting to know the people, not sitting in the Managing Director's office but with them.

They were very polite the first day, but after a while they just treated me as if I was invisible.

It was great to blend in and it taught me lot about the people I work with.

Which was your first client meeting ?

Oh, it was with Castrol during the launch of this new packaging. It was fun, they had all these dancers doing a shadow-play sequence behind a screen around a giant silhouetted pack and the finale was when the lights came on to unveil the look of the new packaging.

ourselves a big pat on the back. I lined every­ one up to greet the clients, we were all wearing T-shirts with FCB and Cycle and Carriage logos with the statement 'Driving Together'. When the clients came out of the lift, all of us 45 or 50 strong, started clap­ ping. The client turned to me and said, 'I don't know what you are trying to prove, but we are damn impressed!'

Then the next big one was obviously Telekom, one of Malaysia's largest companies.

We were overwhelmed with that victory and everybody in the agency started really feel­ ing confident about what they were doing and believing that they could take on the odds and win. Later we went on to pitch against many high profile agencies and it was good fun. I think every client wants to see that you are ambitious for their ambition. And how you show that ambition, whether it's in your strategy, creative or media, you really got to get it right. We have kept at it for sometime now and have grown our billings three-fold in less than two years.

Fell us ahout your new biz blitz...

First I must say I was amazed the agency was still handling the first three clients it acquired when it started operations some 28 years ago. That's really something to be proud of. We are grateful for these clients for believing in us all these years. We also had to build on this.

So we started meeting potential clients telling them we had something new to share with them.

Then after six months we landed our first big win. It was Mercedes Benz, Cycle and Carriage.

I can't begin to tell you what that did to the agency! It was a phenomenal shot in the arm!

I told the staff we should celebrate and give

You've got a new creative director at the helm,

SPLee.

How are things working out?

We've been courting him for a long time and I'm delighted to have SP on board. He real­ ly cares. He cares about the industry, the work, the people. He has initiated our staff training programme and is really committed to the development of our people. I feel very strongly about training and have conducted a few classes of my own. I'm flattered that young people are eager to hear me speak, just gives me a big kick to share my experiences with them.

on!

Any comments about the sentiment in the present

How do you juggle your time ?

I love the first two hours of my day I come in the morning and I get this wonderful view of KL from my office and the light is breathtaking. It's really inspiring and I feel very privileged just looking at this amazing city as it rises from its slumber.

I savour the moment First I must say I was amazed with a nice cup of steam­ tke agency was still handling ing coffee. It's a prefect start to the day And tke first three clients it then of course around ten o'clock... all hell acquired when it started breaks loose! operations some 28 years ago.

The

difficult market scenario ?

I see a mood swing clearly. I also see a country with its people wanting to be confident and needing to be confident. So advertising has got to speak in the right tone to appeal to this mindset. Play the right tune and you'll win.

I definitely see great promise.

What don't you like about the advertising business?

I hate poring over numbers. At the end of the day, we are in a consultancy business and I enjoy getting out there and hooking up with clients instead of being locked in a room crunch­ ing out numbers.

media scene here has

just exploded over the last few years. What do you

think ?

Media fragmentation is one of the things that makes this business exciting and more opportunistic for clients. New media is the lifeblood of our business. I welcome any new medium and encourage them to get going, to sell themselves to the agencies and also the clients.

It's what keeps our business moving.

Tell us about a pitch you made and lost.

It happens, you're never right all the time. We pitched last year for the Hong Leong Assurance business and I thought we were on the right track but in the end we lost out.

I really give that client credit because after the pitch they sat down and explained to us why we didn't get it. They were very transparent and we learnt something in the process.

Where do you see FCB Malaysia heading to in five years time?

We want to be famous for doing great work. At the moment we're just starting out. In a few years, I think we'll be right up there in the top five. Yes, position or ranking is certainly important. I mean success is all about being successful, no matter what they say. We see two competitors, the rival agencies we compete with here and also the huge FCB network around the world. I like to see us excel not only with our peers but also within the network.

Any parting words to our readers?

Well, I think we all have to Get Real. It's going to be tough. The business of advertising is going to definitely change and for those who are thinking about getting into the business, they have to really prove that they are serious before being given the opportunity. You've got be an observer of the business, read as much as you can, have a point of view and of course, you must have insight into the market. A window which opens into the hearts and minds of your consumers.

You've also got Robert Burr on board for your direct marketing division.

Yes, Rob is a great guy. He will be handling our direct marketing, one-to-one marketing stuff on a regional basis stationed here in KL. There are some really excellent opportunities heading our way and with Rob in the pilot's seat we aim to fly.

I hear you start your day very early and are one of

the

first

in

the

office

every

morning.

Above: FCB Malaysians latest commercial for TMTouch called 1Lost in Space' won the FCB Worldwide Ad of the Month recently, making it the first ever ad from Malaysia to earn this honour.

Simon Bolton will talk and host a full-day session on How To Win In Difficult Times' under the auspices of the International Advertising Association (IAA) on July 10. Call the IAA Malaysia Secretariat for details at 03-719 8195.

by Lara Hussein

Th« case for

Techno Brand »g

This is an interesting subject that is close to my work, and a good one to write about this time. The term "Techno Branding" was coined up by a London-based strategic planner who specialised in technol­ ogy products. As a concept, it applies the latest in communica­ tion and psychological thinking to branding.

It is the architecture and blueprint for building and maintain­ ing brands as it delves into the depths of a brand. This forces us to understand con­ sumer dreams and aspirations better and helps us to find his one "real" desire or need.

Many years ago, technology marketers could set the perfect mousetrap and scream technology with the hope of getting buyers.

Those days are long gone. In the face of tough global competition today, proliferation of choice in technology services and products are now widely available to con­ sumers. It is increasingly difficult to get people excited about tech­ nology. It is no longer an adequate product differentiator. First if all, why should technology products be treated any differently from other consumer products? Like any brand out there, they must be nur­ tured, managed, and built in the same way, such as Levi's or Coke.

The brand-building process of cre­ ating PERSONAL RELEVANCE remains an important factor.

Relevance has to be an intrinsic property of techno brand­ ing. Unfortunately, a lot of prod­ ucts today are using technology the same way they have been used for years. They have failed to evolve into a more emotional platform. They have neglected to bridge the widening gap between the consumer and the brand.

Products are marketed on pure "technology specs" without deliver­ ing on consumer relevance.

Numbers and gimmicks do not warm the cockles of my heart.

Emotion does. We must recognise that the emotional experience equation must be raised at the

AD©/ 22

Today, the process of techno branding is now more crucial than ever before. We must get into the process of delving and finding that one "real" consumer desire.

Daddy to daughter on videophone MVO: The witch gets on her broom and flies out of the window There she goes...

The princess turns her face and sees the witch Help! Help!

Before things get worse

expense of value or technical specs.

While there are a few exceptions, I have seen enough campaigns on telecommunication products, especially mobile phones, that are built around a world of high-tech values, while the brand personality is left to flounder, completely devoid of feel­ ing. There is no warmth or emo­ tion, nothing that could build empathy with the consumer. Let me repeat - technology products must engage in brand-based competition the same way as other goods. The nature of the buying audience has changed dramatical­ ly; they need to 'feel' what they are buying into.

We must leave the good old days of high-tech marketing where they belong - in the good old days.

Today, the process of techno branding is now more crucial than ever before. We must get into the process of delving and finding that one "real" consumer desire. How would I go about it? Various planning tools can be used, such as the brand ladder model, which applies the mental and emotional processes customers follow when making purchases. It is extremely simple: the more emotionally attached customers are to a brand, the more likely they will buy it.

It is a directional model that "ladders" from the product to the person and what the product

Twinkling light!

Here comes the angel to save her. The witch is melting. Then comes the prince. Gallop. Gallop..

Gallop... He takes the princess on his horse ANNCR: A picture means more than a thousand words.

Telecom Asia actively improves the communica­ tion system to let every heart communicate deeply.

MVO: Then the angel comes to bless the little princess with a good night's sleep.

ANNCR:Telecom Asia.

Communication technology of the future.

means and does for him culturally and emotionally. Brand ladders go beyond the specs to identify PERSONAL RELEVANCE. The emotional value to the individual becomes your core proposition.

I cannot stress this enough.

I firmly believe emotion is the most powerful tool in 'crossing the chasm' to the consumer. Techno ads should be human, not techni­ cal. My favorite commercial that illustrates this to a tee is a beautiful spot from Thailand. It is a campaign for Telecom Asia entitled 'Daddy'. The commercial touched me to such an extent that until today I can still remember the lines. It uses simplicity, sensitivity, and a heartwarming message to communicate the launch of a high-tech telephone product.

It gets right past all the messages we get bombarded with daily.

It is not in the least intellectual or overly rational. Instead, it speaks to all our hearts and emotions.

Above is the script and picture board; you can see for yourself what I mean.

Name: Carrie Koh Age: 20 Height: 5'5" Exposure: Nil

Which colour separator will stick his neck out this far?

Far East

Tough deadlines? Tough clients? Tough times? It pays to have a partner who 11 stick with you all the way. Call Seng Tee or Charles Ch ew at 03-782 2133

Is the grass greener on the other side?

An ex-client talks about life in the agency ranks. He graduated with a degree in Finance, started his working life in the sales and marketing arena, and is now the Deputy Managing Director of Ogilvy & Mather (M).

Meet Ng Keng Ming, one of the few 'V client-to-agency 'migrants' in the jm JBBMI advertising indus^ try Keng Ming joined O&M over tf a year ago, start*•1 ing out as a ,*m Group Account Director.

Prior to that, he 'very much belonged' to the marketing area of fast-moving consumer goods in companies such as RJ Reynolds, Pepsi and Johnson & Johnson.

"I'm sitting on the other side of the fence now," he said. And how does the grass look from this other side? "Well, there are some changes. Advertising is more of a selling role. When you're on the client's side, you're basically a buyer. So being a buyer and a sell­ er, there are some distinct differ­ ences." On the other hand, Keng Ming found that both the buyers' and sellers' roles have a common point of having to work with brands and marketing principles. Both also share a common boss, ie. the consumer. "You have to understand the consumers and their needs, their requirements," he said.

For Keng Ming, his experi­ ence as a former client has worked out well to his advantage. "Being a previous client has definitely helped in my job. Sometimes you're able to grasp better under­ standing of clients' requirements, situations, problems as well as the opportunities they are encounter­ ing. You can also help bridge com­ munication that would be more towards their (clients') require­ ments."

The liaison factor, accord­ ing to Keng Ming, is pretty much dominant especially in the account servicing area. Being a former client has given him the chance to see things from both the client's as well as the agency's perspective.

"More important is the combination and synergy of seeing it from the consumer's perspective. Some client exposure would be able to help you get the best of both worlds."

AD©/ 24

It has all been very benefi­ cial so far. Keng Ming has yet to encounter any awkward situations in dealing with his former employ­ ers. The key, he says, is mutual understanding and respect between clients and agencies, where each are clear on the roles they have to play. "We (client and agency) have our individual roles to play, if we can always define that distinctly, I don't think the relation­ ship would go bad."

Keng Ming majored in Finance from the University of Central Florida, and has never had any formal education or training in advertising. While it was the money that attracted him to study Finance, he eventually decided that it was not for him. "I guess I kinda' found out that, I don't think I can be behind the desk everyday and just crunch out numbers."

Keng Ming likes to be on the move all the time, and that was what attracted him to join advertis­ ing. In fact, his current job basical­ ly entails not sitting in the office.

"It's very active and dynamic," he says of the advertising industry.

"You're on your toes everyday, even with just one single portfolio or one single brand. And you get the opportunity to work with multiple aspects of brands and variety of consumers, different targets."

A passion for brands is what Keng Ming obviously lives by in his work. The opportunity to be part and parcel of being a custodian of brands is what he enjoys most. It gives him satisfaction to see new brands being developed positively, or existing brands growing into stronger market leaders. In fact, Keng Ming is more interested in working with what he calls 'the underdogs' and nurture them into positive brands.

The only quirk he has of his job is the long hours. His work hours are "undefined" and even his pastime is spent working. "I don't know what's my pastime now!"

While he spends most of his time at his aquarium-like office (an inter­ nal joke at O&M), his two children keep his wife occupied at home.

"My wife is not in this field, thank God! One person in advertising in a family is more than enough."

Meanwhile, Keng Ming is still searching for his favourite pastime.

A gathering

of fools

by Julie P. Lingan

The faxed invitation to slightly over a hundred ex-AMCers said precisely that and some later confessed that they never suspected the noun (normally used to denigrate) to evoke powerful emotions of pride, belonging, even euphoria. Host ISCB led by President/CEO Austen Zecha (founder of AMC) promised a simple evening of get together but everyone saw a trip down a time tunnel circa 1976 to 1994 when everyone spent some time at their "alma mater" down the road, when life was simpler ("politically correct" had not yet been verbalized) and nights were confused with days (scheduled meetings had to specify A.M. or P.M. or four o'clock alone may well be before dawn).

Those were the days when we were berated for flaunting No. 1 on our doors - the agency address at No. 1 Jalan Duta had always been there but people only took offence after the fulfillment of Despite the stormy what seemed like self-prophecy. weather, the April 1st Despite the stormy weather, the April 1st reunion was attended reunion was attended by about 90 by about 90 sentimental fools who feigned indifference at the sight of sentimental fools long lost colleagues and dear friends. who feigned But underneath the usual indifference at irreverence, the critical eyes, the put-on nonchalance and every action the sight of long that attempted to subterfuge gen­ lost colleagues uine affection, everyone knew it felt and dear friends. great to be together again after all these years.

Ah, and the packaging! Some came pretty much the same, the way they were except perhaps with labels that were a wee bit faded, hints of what Austen calls shelf life or expiry dates. Some had NEW! IMPROVED! written all over, with unmistakable corporate stamps, the industry's equivalent of the good housekeeping seal. In my book though (come on, aren't we all sentimental fools?) everyone had the endearing look of classic Andy Warhol Campbell soup, made more precious with time and absence. Drinks poured. So did memories. There was nei­ ther present nor future tense, it was all understandably past. "Remember when" preceded torrents of laughter or brief re-enactments of half-forgot­ ten vignettes of agency soap embellished by adlibbed moods of the moment. The Creatives led by Tunku Yala, Tajul Ariffin and Gerald Kwok talked mostly about favourite campaigns that ended up in the wastebasket and campaigns that were written and art directed by those *&??!! over at client's side. Client Service led by Foo Soo Yong talked mostly about, who else, but clients - the gods they either respected, tolerated or secretly despised. Media led by April Low talked about how the world has seen them sashay from sidestage to centrestage - and how clients don't sleep anymore during their new biz presentations.

The Special Event & Promotions group led by Mattie Fernando started brainstorming on the next reunion. Admin & Finance, led by K.C. Tang checked on who was absent and why, concerned that the extra F & B would go to waste. And Management? They, led by George Chen, were predictably wandering about, toasting their way from one table to the next without, thank God, the hundred and twenty decibles of yamseng. In the volatile world of advertising, it's heartwarming to note that some things indeed don't change. Like the psychology of the good old days, which probably propelled the ex-AMCers to come.

The phrase somehow carries with it a golden halo effect, so that the past is always remembered better than it ever was. Interestingly, no one brought a camera if only to record the first ever reunion of fools, masochists bound together by intangible ties of love and hate (two faces of the same coin!), camaraderie and competitiveness that can only come from years of slaving together towards the same lofty goals, the same impossible dreams. Maybe everyone had the same wavelength physical pictures may fade, but not those that defy time. Pictures that are, by choice, indelibly etched in the windmills of our minds.

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PUoilJHlL

From 9.00am-7.30pm daily.

ifsnonicnfc Concept and copy - Institut ILHAM Copjwriting class.

Film production house Shooting Gallery has shot quite a few notable television commercials of late. They tag themselves as a production centre for overseas clients looking at Malaysia for their film shoots.

Here's a showcase of some of their recent work...

Shooting Gallery

shoots big!

Malaysia Airlines Made in Malaysia for the Australian Market This commercial was produced for airing in Australia to pro­ mote the Commonwealth Games and MAS Business class on its new Boeing 777 aircraft.

Agency: Ozad Pty. Ltd. Sydney.

Creative: Robert Bosschieter Film Director: Derek Hughes DOP: Chua Khay Boon Exe Producer: Khoo Peng Tein

Honda EX 5 & Kedai Tenaga Both commercials were shot with the aid if Nero Motion Control Rig. Motion con­ trol is a computer controlled camera with a robotic rig which performs totally repeatable and precise camera moves.

This enables film makers to seamlessly cut, dissolve and create visual effects between multiple passes, either in stop motion or in real time.

Agency: Impact Strategy Creative Director: Mr Sanjay Film Director: Mr Kent Allen DOP: En Hanafiah and Mr Chua Khay Boon Producer: Miss Alison Yong

AD©/ 26

White Horse In this commercial nature is being used as a vehicle to com­ municate with it's target audience. The client, white Horse Ceramic Industries manufactures ceramic titles for domestic and commercial use. The commercial show us the extend nature goes about building their homes, which in some way resembles that of man and white horse industries has the finishing material for everyone who is building a home.

Agency: Silad (Johor Bahru) Creative Director: Miss Cheah Guak Cheng Film Director: Raja Aznil DOP: Mr Yeoh Gaik It Executive Producer: Khoo Peng Tein

MBA

CHARLES STURT UNIVERSITY

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TOP STORIES FROM ASIA'S MEDIA & MARKETING NEWSPAF

DY&R aims for No.1 in Asia

By Suzanne Miao

Dentsu, Young & Rubicam has unveiled the first phase of a new structure designed to make the agency "No.l in each country and therefore No.l in Asia," according to regional President/CEO Matthew Asinari.

The new structure will cre­ ate a "hyper-agency" network with not just one central headquarters in the region, but multiple "centres of excellence". Mr Asinari told MEDIA, "Our new structure puts the best people to work with our key clients." DY&R's new set-up will therefore be client rather than geography-based, and managing directors in key markets will take on the title of regional managing partners. They will act as interna­ tional brand managers for clients in those markets, which include Tokyo, Singapore, Hong Kong,

Bangkok and Kuala Lumpur. Mr Asinari said the structure had been tested internally since last June in Singapore, Thailand, Hong Kong and the Philippines. "Every office in Asia will now play a regional or global role," he said. DY&R has allo­ cated significant funds for training programmes, which Mr Asinari said will raise the bar throughout the agency network in Asia. DY&R's announcement of its restructure comes hard on the heels of the set­ ting up of BBDO's The Hub also an attempt to rethink the way agen­ cies operate.

"We are the entry points for regional clients in many markets," he said. Now, DY&R's most senior people will act as the clients' part­ ners, no matter which country the brand assignment is located in: "There is no reason why global campaigns cannot be run out of every office, if we have the best people working on the business," Mr Asinari said, noting that DY&R client Colgate runs global cam­ paigns out of the Philippines.

Korea rebuilds following 30 per cent drop in adex

By Iris Lai The Korean advertising industry has suffered a 30 per cent drop in adspend since the financial crisis began last October, according to Senyon Communications chairman and CEO Senyon Kim. "We are having negative growth for the first time since our industrialisation three decades ago," said Mr Kim, also world president of the International Advertising Association.

Most ad agencies and pro­ duction houses are laying off staff and newspapers are also making sim­ ilar cutbacks, he added. Print media had suffered the biggest drop in adspend; many secondary newspa­ per and magazine titles have disap­ peared from the marketplace.

Lifestyles and leisure publications have experienced the biggest blow of all. Real estate and those products and services which are not daily necessities have experienced the most dramatic plunge in adspend.

Mr Kim noted the print media are cutting advertising rates to compete for business. Korean conglomerates, chaebol, which had previously been among the biggest international and domestic advertisers across Asia, are now in the process of restructuring, their marketing activities choked by bad debt. Nevertheless, Mr Kim noted foreign buyouts and mergers have not yet happened in Korea.

"Advertising is always the first sector to be affected and the last to recover during recession," he said. After the economic bubble burst, Mr Kim said the Korean advertising industry had learned that it was time to restruc­ ture itself and open up to the global market. "I'm urging our industry to be more proactive in reforming our­ selves," said Mr Kim. Both the gov­ ernment and the advertising industry needed to work together to reduce bureaucracy and inefficiency within the system, he added.

All the world's a hunting ground for BBDO's The Hub The scene of top-level creative freelancers milling around the BBDO regional office in Hong Kong has sparked rumours of who's actually doing the work at the agency. And the answer, according to BBDO regional CD David Alberts is: "Everyone." Mr Alberts told MEDIA he is unashamedly in the market for the best talent available and doesn't care who gets the credit for the work. BBDO's elite regional unit has christened itself The Hub and is on a separate floor to the BBDO Hong Kong office.

Top management such as Mr Alberts and regional CEO Chris Jaques simply use the titles "part­ ner" and can be seen actually working on advertisements, rather than the usual expat role in Asia of being bogged down in manage­ ment or corporate chores. The Hub is attracting the type of cre­ ative person who doesn't neces­ sarily want to continue being a creative director, or doesn't neces­ sarily want to follow a career at one agency. Among names who are currently or may soon be working on projects at The Hub are former Batey Singapore CD Tony Redman, former Bates Asia and Mojo Melbourne creative Andy Lish, ex-O&M Singapore CD Steve Elrick, the creative team from St Luke's in London, Steve McKenzie and Jason Gormley, and an outfit in Sydney called the Glue Society, which consists of a group of free­ lancers who previously worked for Y&R Sydney and Howell Henry Chaldecott Lury & Partners in London. And to further prove that this is no rag-tag army of unwashed, unemployables, Mr Alberts said that even the venerat­ ed David Abbott of Abbott Mead Vickers BBDO in London had said he would be interested in a tw or three-month stint at The Hub as a breakaway from London. The team from the Glue Society has already

been involved in the new Hong Kong Tourist Association TVCs and some controversial Sunday Telecommunications print ads, which no newspaper in Hong Kong has yet approved to run but which may appear as POS posters. BBDO still has its individual country offices where it is building formida­ ble local creative teams, such as K.C. Tsang and Paul Chan in Hong Kong, Soon Cheng Sun and Ram Sandhu in Malaysia and the recent­ ly hired duo from Results in Thailand, Suthisak and Decha. But the concept of an elite unit capable of producing top-level regional and international advertising has begun to impress. As one client with an international brand asked Mr Alberts recently: "Why do I have to use only Hong Kong agencies?"

"The concept of regional CDs is dead," said Mr Alberts. "We set up The Hub because the things we love and are the best at is being involved in ads and with clients.

This will never be a huge creative department but a centre of cre­ ative thinking." The premise even extends to management. BBDO regional CEO Chris Jaques and for­ mer Bates Asia managing director and now director, international accounts, at BBDO, Laurie Kwong, can be seen actively working on briefs at The Hub. Other "partners" in the Hub are director of interna­ tional accounts Cynthia Alfieri, regional producer Rowena Chu, strategic planning director Ayesha Walawalkar and regional media director Abhijeet Dutta Ray. The Hub is all about "horses for cours­ es", said Mr Alberts, adding that he had no problem hiring people who were better than him, or outsiders taking the credit for the work com­ ing out of BBDO. "The only way I get evaluated is when I stick that reel in the machine. I've just got to get the best football team."

Annual subscription rates to Media are Hong Kong (HK$590), Asia (US$90) and outside Asia (US$1 10).

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Tel: (852) 25772628; Fax: (852) 25769171; E-mail: media@intercon.net; Website: httpy/wwwjinediaxoi^

Tick which area you want your team to master in this economic lull: CD

How to write an Advertising Brief

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Managing an Integrated Marketing Communications programme

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Basic Copywriting Skills

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What goes into the making of a Television Commercial

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Effective stand-up Presentation Skills

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The Art of writing a Creative Strategy

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Using Direct Marketing for profit

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Creating powerful Print Advertising

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The power of Radio Advertising and proven techniques

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Public Relations and Crisis Management

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Understanding and getting the best out of Print Production

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Using Sales Promotions to get sales

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Everything you need to know about Media Planning

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How the Internet is revolutionizing marketing

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Analysing and interpreting Market Research

You could be a marketer, advertiser, ad agency, communications consultancy, whatever. You could have a marketing department, advertising division, public relations arm or sales and promotions team or all of the above. But training is key. Especially in these 'quiet' times. Charge your team with the right skills now and take the bull by the horns when it charges back into our economy. We are a registered HRDF training provider.

We can conduct on-premise training programmes which could last a few hours to full-day sessions. Reach us at 03-716 2588 or fax 03-716 2598.

executive who under­ stands the role and power of marketing communica­ tions from an advertiser and agency perspective, as well as from a multicountry vantage point."

Since being named to his current post as head of Malaysia in 1993, Dempsey has also been given addi­ tional responsibilities that put him in charge of the Emerging Markets Group of Vietnam, Laos, Myanmar, Cambodia, Bangladesh, Pakistan and Sri Lanka. He will continue with these seven-country responsi­ bilities for the foreseeable future.

Prior to 1993, he had served as Managing Director of McCannErickson Philippines for seven years. Before that he had worked at the San Miguel Corporation in San Francisco, Papua New Guinea and Manila.

Ray Dempsey named McCann Area Manager Southeast Asia Ray Dempsey has been promoted to the newly created McCannErickson post of Area Manager, Southeast Asia, announced by Marcio Moreira, Regional Director of McCann-Erickson Asia Pacific.

Dempsey will also continue as Managing Director of McCannErickson Malaysia, his current post. His new reponsibilities will cover China, Singapore, Thailand, Indonesia and Taiwan.

"We're delighted to expand Ray's responsibilities in Asia during this time of economic uncertainty," said Moreira. "He is a seasoned

APL Malaysia wins Asia-Pacific Award!

And Managing Director, Khairudin Rahim, who took over in 1995 as APL's first Malaysian agency head attributes the agency's win to "the culmination of the agency's great teamwork, its commitment to change and Ammirati Puris Lintas, Malaysia APL's solid client-agency partner­ (APL), a leading international ships." advertising agency, was awarded According to Khairudin, the Jean-Francois Lacour Award the Jean-Francois Lacour Award for the most outstanding agency recognises the agency not only amongst APL agencies in the Asiafor its significant improvement Pacific region. Voted by APL in financial performance but also Regional Directors, this award has for its dramatic improvements in been given annually since 1988. new business gains, local creative ranking, APL Malaysia is also and also in client appraisals.

"APL recognised by clients for Malaysia is also delivering a superior media recognised by clients for delivering a supe­ product and demonstrating rior media product and demonstrating excellence in developing excellence in develop­ ing the 'Brand the 'Brand Experience' Experience1 for its for its clients. clients. Today, APL Malaysia's achieve­ ments have con­ tributed significantly Pui s lintas to APL's network growth around the region."

"In many ways, our clients appreciate the qualities and abili­ ties that we have as a team. Understanding a client, its business We did it! ... For most outstanding APL agency and consumer in the Asia-Pacific region, the APL Malaysia team insights clearly allows with the Jean-Francois Lacour Award. us to create communi-

AD©/ 30

Singapore Tourism Organisation appoints public relations representative office in Malaysia The Singapore Tourism Board (STB) announced the appointment of Edelman Public Relations Worldwide as the public relations representative in Malaysia.

The decision to establish a public relations representative office in neighbouring Malaysia was in the line with STB's move to increase its support to the travel trade and to enhance its servicing of consumer needs in the market.

"We feel it is important to enhance a conducive atmosphere for tourism exchanges in order to facili­ tate the continuous goodwill and understanding between the two countries. A greater presence and representation in Malaysia will be a step in this right direction," Mr Chew Min Seng, Regional Director of South Asia, said.

"STB aims to continue build­ ing and developing the co-operation between Singapore and Malaysia in the field of tourism. Through mutually-beneficial programmes and partnerships, we are better able to enhance the region's attractiveness and competitiveness."

STB views Malaysia as a very important market due to its proximi­ ty and growth potential. In view of the current economic and currency turmoil, Singapore offers a destina­ tion that is easily accessible and an ideal getaway not too far from home.

KEYFRAMES OPENING PARTY PEEKS!

-v, . ,

If

From right : Pierre of Keyframes Alfredo of NTV and Michael Conkey of Finito.

From right: Bobby Chan of O&M KL, Zora Gabrovse of Keyframes and Sharon of O&M KL

cation plans that work," explained Khairudin.

Some examples of APL's outstanding work include the popular POLO Mint TV commer­ cials and the Carefree Pantyshields print advertisement which was awarded finalist status for advertis­ ing effectiveness at the recent New York Festivals. The agency also won several new accounts which include Burger King, Public Bank Card Services, Audrey International, Thai International Airways domestic/tactical account and Unilever Central Media Buying.

Jean-Francois Lacour was APL's first regional director for the Asia-Pacific region. He was instru­ mental in building the agency's net­ work during the 70's to 80's and was ahead of his time in instilling the sense of great teamwork and partnership between agencies and clients. Lacour spotted and nur­ tured local talent and groomed them to senior positions. The heads of APL Malaysia, Thailand, Philippines and Indonesia are the product of his vision. He died during active service in 1987 and the award was created in 1988 to honour him.

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Alive By 5. Are You?

After all, the city then boasted the second-largest ad industry in Asia.

"It's not full grown emotionally, but it's growing quickly," says Carlson.

Call it Destiny

by Da vid Kilbura Call it destiny. There is a tide in the affairs of men which can lead to fortune. The catch: You have to make your own opportunity. Andreas Dannenberg, David Carlson and Michael Lim have taken that adage to heart. These men are pioneers, entrepreneurs who braved skeptics and opened ad agencies in the Far East. Despite tough times, the daring troika is proof positive that enterprise pays.

Take the case of Andreas Dannenberg. He spent most of 1982 photographing minority ethnic groups in China, work which was exhibited in New York, Tokyo and showcased in several international magazines.

In between shooting covers for Time, he did commercial work for Kodak and BMW. Then fate intervened. A client introduced him to Dentsu, which was so attracted by his creative flair it asked him to execute work for international clients and assist in new business pitches. This break led him to propose a new company - Dentsu International. Dannenberg's idea was nothing short of revolutionary: Serve western clients and western agencies in a western style, with the back office provided by the main agency In essence, he wanted to provide an environment where high fliers could develop cutting-edge international skills. The proposal was debated and rejected by Dentsu in 1987. The company dismissed the notion that it needed to be more international on its home turf. Undeterred, Dannenberg picked up the gauntlet. "I really believed there was an opportunity for a more Western approach to communication, so I went ahead and started AD-media that same year," says Dannenberg.

Winning clients was easy. "Northern Feather and BMW were quick to sign on. A Japanese creative director joined, but pulled out once premis­ es had been leased and the company launched. I was faced with a major disaster, my Japanese language skills weren't very good, the bills were rolling in and there were client commitments," Dannenberg recalls. Some entrepreneurs would simply throw in the towel; Dannenberg shifted into high gear. While working for his initial clients, he became a freelancer to pay the bills. And his persistence paid off. AD-media1s 97 billings - an impressive $60 million - put the shop in the big league. That's thanks to AD's stellar roster, including BMW, Club Med, Givenchy, Shiseido and Mercedes. Plus, since the agency parlayed a dream into a fiscal success, it looks attractive to brand-name agencies hoping to grow in Asia. Indeed, agency suitors think Dannenberg would be happy to sell. Think again.

At 37, Dannenberg is building - not retiring - his business. He already has small subsidiaries in Hamburg, Germany, and London, and plans to expand to New York and Shanghai. "We need the network if we're not to miss opportunities from some clients, especially the Japanese ones," he says.

AD-media's strength lies in Dannenberg's driving passion for creativity and quality. Born at the pinnacle of Japan's economic success, AD-media has steadily prospered, despite a declining Japanese economy Of course, as a maverick in Asia, Dannenberg is not alone.

Former Leo Burnett creative director David Carlson braved troubled times, too. He hung his shingle, David Carlson Creative, in Seoul, in January '97 when pundits predicted economic growth at no more than 6 percent, with advertising missing the usual double-digit acceleration.

Carlson was willing to defy expectations, although he 'didn't expect the bottom to drop out last December.' He first came to Korea in '95 on a short assignment from Burnett. When it came time to leave, Carlson found himself drawn to the country. The smart money said Seoul hadn't achieved its business potential. After all, the city then boasted the second-largest ad industry in Asia. "It's not full grown emotionally," says Carlson, "but it's growing quickly. So if I had the choice of starting an agency in Chicago cold, mature, conservative - and here which was vibrant, cantankerous but ambitious, there's much more excitement here." Carlson's business ground to a halt during the winter, but his vision remains. "There's no reward for not completing the journey," he says. He renegotiated his lease and together with his two Korean colleagues, cut salary and expenses.

ADO/ 32

••

And he advertised. It worked. Carlson's ads utilize word play, visual elegance and a gentle but dry humor. Now, there's enough new business to meet the young agency's needs. In February and March, revenues topped those for all of '97. LG Electronics, the Korean government and Hyundai Motor are clients. Some large Korean agencies are also talking of outsourcing work to Carlson. In fact, economists say Korea is healing, which is good news for Carlson.

Things are different, however, in Myanmar, a country out of sync with the 20th century. Here, Asia's youngest ad industry is trying to survive. In 1992, this closed country opened its doors to the world.

Heartened, veterinarian Dr. Tha Tun Oo (Michael Lim to English-speaking friends) founded a new magazine, Today, as a guide for tourists. Then his break came. Japanese visitors from Nikkeisha, a Tokyo ad agency, were looking for media and an affiliate to advertise Casio. They persuaded Lim to start an ad agency "Normal practice is for media to own agencies, as in Japan, they said. It wasn't till McCann-Erickson visited later that we learned differently," he recalls. With no established shops to serve as models, and in a country where foreign publications, including Adweek are banned, Lim was on his own. But help was at hand.

In Singapore, he stumbled on books by David Ogilvy. "These opened our eyes. We remodeled the agency based on what they said and began to study the consumer." Thailand's leading independent agency, Spa Advertising, contacted Oo and the two formed a second agency, Spa Today Advertising, as a joint venture to handle Thai and Southeast Asian clients in Myanmar. Lim then approached Ogilvy & Mather which was eyeing Asia's newest market. But for the introduction of US-led economic sanctions against Myanmar's military rulers, Today Advertising might now be part of the Ogilvy network. But sanctions forced Western clients and agencies to pull out, while Asia's economic problems meant regional clients cut budgets back. Still, Lim aims to keep his 50 staffers and hopes to bill over US$ 1 million this year. His optimism isn't dimmed by hardships.

Friends in the ad industry help sustain his vision. "Things are bleak today.

With so little advertising, we really have a great opportunity to focus on training and improving our skills, so that when things improve, we'll be a much better agency." Call it destiny. These three entrepreneurs are willing to endure the slings and arrows of outrageous fortune - and win!

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Three Chinese Tortures A man once found himself lost in a deep jungle just as it was getting dark.

By chance, he stumbled upon a house in the middle of the wilderness.

He knocked on the door and an old gentleman answered.

"You may stay the night." said the kind old gent, "on one condition,"» "What's that?" asked the man.

"You must not touch my daughter, or else you will suffer three Chinese tortures."

The man agreed and he was shown to his room.

On the way there, he spied out of the corner of his eye the most beautiful girl he had ever seen.

Her eyes were like black pearls. Her flawless skin like soft mountain snow. And her hair was the shade of twilight. ~ * All night as he lay in bed. the man couldn't keep his thoughts off the old gentleman's daughter. mm •SB?:# , % - > %, So he tip-toed to her room and (as you may have guessed) had his way with her.

The next morning, he awoke to find a huge rock placed on his chest. Pasted on the rock was a piece of paper that read: First Chinese Torture. 10lb rock on chest.

"Hahi* thought the man. "This is hardly a torture!"

And he shrugged off the rock then threw it clear out the window.

On the other side of the rock he saw a second piece or 1paper-. Second Chinese Torture. K>lb rock tied to left nutf By then, it ; was too late to catch the rock. So the man quickly jumped out the window before it fell too far.

On a tree outside, he saw a third piece of paper: Third Chinese Torture. Right nuts tied to bed.

If you can picture that, we can shoot it.

Stills Studio No.79, Jalan SS25/32, Taman Mayang 47301, Petaling Jaya, Selangor Darul Ehsan. Telephone: 603 7054509 Facsimile: 603 7054512

' US

Chntting with the folks who approve commercials!

Sometimes you love them, sometimes you hate them,

know our national policy, it's all over the media."

Besides elements of violence,

but you can't live without them.

We're talking about the Double K team of Kamilah Ahmad and Karunanithi, approval officers at the Commercial Department of the Information Ministry. They are the people who approve television and radio commercials, respectively. Their go-aheads mean that those great ideas and creative scripts for television and radio commercials can go to air. The series of numbers that you see on the bottom of the screen at the beginning of every television commercial are not lucky Magnum 4D numbers.

They are the official approval numbers for the spot. So how do Kamilah and Karuna go about their roles?

"We get directives from the Ministry from time to time. It may not be in the Advertising Code, but it's part of the administrative policy." says Kamilah. "It changes from time to time depending on national policies, current issues.

Advertising agencies are sometimes not aware of these changes until they send in a story board or script and it gets rejected. But they should

and sex, language is also an important consideration. "For radio commercials it's even worse," says Kamilah.

"Even the tone of the voice can change the whole meaning." Karuna agrees that radio commercials are more complicated as agencies only send in scripts. He has to visualise how the final execution will turn out. "On television you can see it's an Indian man speaking," he gave an example. "But on radio you have to put in the accents to make it Indian sounding."

Even one simple word can be grounds for rejecting a commercial script. "Everybody knows that we don't allow the expression 'lah' .

And yet every time we get a script with the word 'lah' and we have to take it out." says Karuna.

I reminded him that in a recent interview with ADoi, the Minister of Information YB Dato' Rahmat had said he is open about the usage of the word 'lah'.

Kamilah interjected to explain to me the power and influence of the media. "Dewan Bahasa dan Pustaka is quite strict with the usage

of proper Bahasa. And the electronic media plays a very important role in educating people, so we don't mix languages, even though it's commonly used by our people." I suggested that there are too many restrictions imposed and ad people say this is very suppressing. But Kamilah begs to differ. "To me, " says said earnestly, " if you are creative, you can work within the boundaries." Both Kamilah and Karuna describe their idea of a good commercial as something that is simple and meaningful. Kamilah cites a commercial where a little girl approaches a little boy on the train as one of her favourite commer­ cials. The only downside to their jobs, according to Karuna, are the complaints they get.

"Recently there was one guy whose copy I rejected. He said he would raise it with the Advertising Association (4As)." Complaints aside, how are their relationships with ad agencies ? "OK-lah, so far nobody has hit us yet." says Karuna. Kamilah joins in the laughter.

"Advertising people are very creative, so we have to be on par with them, if not better!"

So have they thought of actually joining the advertising industry ? "Cannotlah," Karuna shakes his head. "Nobody wants us. We're saying this cannot, that cannot!"

The Outdoor Advertising Association of Malaysia (OAAM)

The Association of Post Production & Animation Companies Malaysia (POSTAM)

At the recent Fifth Annual General Meeting of the Association, the following were elected to the Committee...

At the 2nd Annual General Meeting of the Association held recently, the following were elected to the Committee for 1998...

President: Shah De Bunt - Media Master Sdn Bhd

President: Chan Moon Kien - Video Headquarters (M) Sdn Bhd

Vice-President: Mohamad Hanafiah Abu Mansor - UPD Sdn Bhd

Vice-President: Sally Lim - TVP Sdn Bhd

Hon Secretary: Lam Tuck Heng - LY Media Sdn Bhd

Secretary: Muhaimi Mustapha - Finito (M) Sdn Bhd

Hon Treasurer: Baharom Alam Shah - BT ABS Sdn Bhd

Treasurer: Peter Yoong - One Degree North Sdn Bhd,

Committee Member: Lynda Chan - Palcrest Sdn Bhd

Committee Member: Geoffrey Millichamp - APV Sdn Bhd

Committee Member: Jim Chan - MMC Outdoor Sdn Bhd

Committee Member: Stephen Bristow - Fat Lizard Sdn Bhd

Committee Member: Garry Goh - Eureka Outdoor Sdn Bhd

Committee Member: Bob Azhar - Mirage Post Sdn Bhd Committee Member: Evelyn Lee - EL Videographics Sdn Bhd

APL is appointed central media buying agency for Unilever in Malaysia Ammirati Puris Lintas (APL) has been appointed Unilever Malaysia's Agency of Record based on the new Unilever system for tactical and central media buying.

"We are thrilled and very proud to have the endorsement of one of the largest advertisers and multinational companies in Malaysia," said Khairudin Rahim , Managing Director, APL Malaysia (pic). He attributed APL's success to "being able to demonstrate a clear under­ standing of the Malaysian media environment and offer a significantly better delivery of our media product."

"What this means is that APL will undertake centrally all media functions at the media implementation stage for all Unilever advertising agencies in Malaysia. This goes beyond traditional Central Media Buying and obtaining discounts in Malaysia.This goes beyond traditional Central Media Buying and obtaining discounts for the Advertiser. This is not just about effective buying. It is about translating the strategic requirements of each brand into an actionable media schedule," said Khairudin.

ADO/ 34

"The maturing of the Malaysian media environment necessitates an approach to communications that goes beyond buying spots and space per se. Intelligence and resource are as important as clout in making sure a chosen media vehicle (TV, print, Radio, etc) has value in terms of the audience it reaches (the right people) and the way in which the adver­ tising messages are delivered (the right time, place and context)."

According to Mr Chim Howe Lai, Chairman, Unilever (Malaysia) Holdings Sdn Bhd, "With the proliferation of television and radio channels, the growth of publication titles and other media forms like the use of the Internet, planning and buying space and air time to reach one's target audience becomes a highly complex business. APL was selected because they demonstrated their ability to add value to this process."

According to Theresa Quah, Media Director, APL Malaysia, an important factor that swung the win APL's way is its TV optimization software - IMprove. Exclusive to APL worldwide, IMprove helps optimise TV spot buying target and weight delivery.

Seeking Marriage Partner.

An Indian woman placed an ad in the personals of a local newspaper.v "Seeking marriage partner," it said. "Must'not wife-beater. Must not run around. Must be good i The next day, her doorbell rang and she rushec aftswer it. But when she opened the door, she fou one there.

As soon as she shut the door and walked away,. doorbell rang again. She answered it but there was still no one there, so she shut the door and walked away.

•

•

' ;: v;: • •

v

,

. r ^ vFor the third time, the doorbell rang. She yanked v

.

the door open and looked around. And when she finally 1, looked down, she found a man with no arms or legs sitting on her doorstep. < "I Vm here to answer the ad," the man said.

• "Er, I'm sorry," said the indian woman. "But I don't . think you fit the bill."

"Hear me out," replied the man. "See, I have no arms so I can't be a wife-beater. And I have no legs so I can't ru$ around."

"But how do I know you're good in bed?"

"How did'you think I rang the doorbell?"

If you can picture that, we can shoot it.

Stills Studio No.79, Jalan SS25/32, Taman Mayang 47301, Petaling Jaya, Selangor Darul Ehsan. Telephone: 603 7054509 Facsimile: 603 7054512

ADoi gfoes bekind tke scenes to discover the making of some recent television commercials..

iyl The Polo Mint series should not have happened at all. The amount of work involved versus the time and budget constraints did not add up. However, the ^^pgency boards were tantalis­ 1 ing, and after 'Cloud' director Harold ^ ... spot and scenic Monfils' Jan elements for the exuberant por­ 'Snowman' spot. The snowman trayal of his caused a last minute hitch. While the bluescreen treatment, it footage of JHA's producer Joshua falling over in was a matter of a snowman suit provided a good belly laugh, where do I the agency was not amused and CGI was the ?ign. After only only alternative at the eleventh hour. Audio as a few days of usual made the whole thing come to life - Harold pre-production, himself contributing to some of the sound the production effects. crew arrived at Paragon Studios Client: Nestle products where the blue Product: Polo Mints paint was still drying, for a Agency: Ammirati Puris Lintas (M) Sdn Bhd one day shoot'.

Creative Director: Stan Miller Two days and Art Director: Alex Hooi no sleep later, Copywriter: Kim Chong blue screen Agency Producer: Shahroom Ahmed snowman and scarecrow, Production House: JHA Productions pyrotechnics, Film Director: Harold Jan Monfils steam, ice, Director of Photography: Kim Miles vapour, chilies, Prod. House Producer: Joshua Fernandez cucumbers, Animation & Visual Effects: Fat Lizard hotplates and background textures were in the can. Back at Animation and Visual Effects Supervisor: Fat Lizard something of a production line swung Steve Bristow into action. Bluescreens were removed and Animators: Liu Pee Hieng, Goh Aun Hoe mattes sent to paint for cleaning up. 3D ele­ Compositors: Liu Pee Hieng, Steve Bristow ments were modelled, animated, rendered and Matte Painting: Brian Labansing queued up for compositing. Background plates were painted and readied for compositing.

AnimationA/isual Effects Producer: Erica Wong The fireball footage, although sensation­ Audio House: Scat Productions al, proved to be technically troublesome as the fiery trail often overlapped the edge of frame, and the supporting rig was quite visible in the firelight and would have required extensive paint to remove it. Because of time constraints, an animated alternative was rendered that proved to be so realistic that nobody new until FCB's Big Bite TVC After only a few days after it was approved. looked like Big Fun when of pre-production, the Liu Pee Hieng worked Fat Lizard first got a look tirelessly on animating production crew arrived at the brief. It's not often the 3D elements for that an opportunity to at Paragon Studios 'Chili1, 'Fireball' and develop a new style of where the blue paint 'Snowman' and com­ animation comes along. positing them with the The craft is such that the was still drying...

3D and live action ele­ rules are not written in stone ments. Steve composit­ and this job called for some ed the 'Cloud' spot, which apart experiments and tests to nail down a style. One from a still 3D polomint which was lit for the thing was for sure, both agency and Fat Lizard background, was all 2D. agreed that a very loose hand drawn style was the Big goal. After a few rounds of tests The background plate for the 'Cloud' was it was decided that a computerised ink and paint created in paint by combining elements of four process was out and all eels were to be hand different images from Harold's travel slides. drawn, hand inked and hand coloured.

Image Bank provided the fluffy cloud for the

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One thing was for sure, both agency and Fat Lizard agreed that a very loose hand drawn style was the Big goal.

The quirky illustrative style was a collaboration between art director Vonda Lim and Fat Lizard animator 'Mike' Mohamed Ismail. The client seemed to have amazing faith in FCB, giving them such a freehand with this unique approach - his only concern being that the product must look real. Some early 3D animation tests of the chips were 'too perfect' so we decided on a film shoot of the close ups and packs, and 3D animation for the long shots. Steve directed the bluescreen shoot at TH Film's studio. Motorised rigs were built for the chip shots and manually operated armatures were used to create the 'walking' packs. Final composite of the live, 3D and Cel animation was by Liu Pee Hieng at Fat Lizard. The audio was initially a Big problem, with the client wanting 60s guitar music, Vonda wanting Techno, SP Lee leaning towards R&B and Fat Lizard recommending Mambo. Hats off to Josie at Scat for putting up with everybody and coming up with a Big solution we were all happy with.

Client: Pacific World Sdn Bhd Product: Big Bite potato chips Agency: FCB Malaysia Creative Director: SP Lee Art Director: Vonda Lim Copywriter: Monica Chen Agency producer: Gerard Peter Production House: Fat Lizard Animation Director: Steve Bristow Cel animator: 'Mike' Mohamed Ismail 3D animator / compositor: Liu Pee Hieng Producer: Jessica Low Audio House: Scat Productions

There once (aas a (toman cdho had a very smaff prohfem â&#x20AC;&#x201D; her tits.

Her physician tofd her that he coufdn f do much for them.

Instead he suggested she try the (ditch doctor dau>n the street "Ask him to marry you'' the physician said " find (then he says no, your tits (biff (jet higger."

The toaman found the (ditch doctor and asked him to marry her. flfo, f idon t, the (ditch doctor said, lichen she returned homet sure enough, she dgro(tn to 3V. "My tits are much nicer nou," the (toman thought, "hut at 36, they d be perfect. So she (tent to the (ditch doctor and again asked him to marry her. "(already tofd you!" cried the Mitch doctor. "No, f oion't marry you!" hi hen she got home, she had 36s. "(think my hu&hand u>ou(d fooe it if ( had 38s," the woman thought. So for the third time ohe <aeot to the uitch doctor and asked him to marry her.

"No, (ted you!" the exasperated utitch doctor yeKed.

"ft moasfim T(MÂŁS, NO!"

If you can picture that, we can shoot it.

Studio No.79, Jalan SS25/32, Taman Mayang 47301, Petaling Jaya, Selangor Darul Ehsan. Telephone: 603 7054509 Facsimile: 603 7054512

medio3onc MALAYSIAN NEW TV SPOTS IN APRIL 98

SETTING HEN DIRECTIONS At Filmpoint, we're always looking to discover new worlds in the realm of TV commercials.

So give us an idea, any idea, even if it's a bit flat, and we'll turn it around ...

Bearings: 03-7199996 (Tel) 03-7174380 (Fax) filmpt@pc.jaring.my (e-mail) 11 Lorong Rahim Kajai 13 Tmn Tun D.I. 60000 Kl

Title

Category

Brand 1998 Grammy Awards

Services

100 Grammy Nominees

Ayam Brand Tuna

Convenience (F&B)

Male Chicken Crowing

Kao Biore Pore Pack

Toiletries & Toilet Goods

Pore Pack For Men

Celcom

Services

Mouse Trap & Golf Ball

Coca Cola

Drinks & Soft Drinks (F&B)

Coca Cola Fan Club

Courts Mammoth

House Supplies

Golden Rush

Dumex FCMP

Milk (F&B)

Mumtaz Jaafar

Dunhill

Cigarette Brandname

World Cup Update

Energiser Battery

Household Equipment

Pinball Football

Faber Castell

Industrial

Wira Club Promo

Foley Associates

Services

Asian Retail Show

Genting Resort

Services

Magic Exscape Promo

Globe Silk Store

Convenience (F&B)

Torn Shirt At Rugby Game

Grandcell Battery

Household Equipment

Boy With Toy

Grandcell Battery

Household Equipment

Testing

Grandcell Battery

Household Equipment

Rechargeable Batteries

Hup Seng

Household Equipment

Sukom 98 Promo

John Hancock Insurance

Services

Executive

Kentucky Fried Chicken

Services

Chicky Toys

Kentucky Fried Chicken

Services

Wild Bites

Kodak

Household Equipment

Sukom 98 Promo

Cool Fruit Sweets

Cereal (F&B)

Big Ace

Sukom '98

Services

Sukom '98 Promo LimKokWing

Marlboro

Cigarette Brandname

Pasir Gudang Race

Mild Seven

Cigarette Brandname

Beach Soccer '98 Promo

Milo

Drinks & Soft Drinks (F&B)

Squash

Duck Mold Killa

House Supplies

Kills Mold

National Washing Machine

Household Equipment

Dry Care

Naturel Cooking Oil

Cooking (F&B)

Heart Beat

Nescafe Can Coffee

Drink & Soft Drinks (F&B)

Cool-Up can

Nestle Crunch

Cereals (F&B)

Wayang Kulit

Nestle Crunch

Cereals (F&B)

Cactus

Oil of Ulan

Toiletries & Toilet Goods

Moisture Protection Cream

Organic Shampoo

Toiletries & Toilet Goods

Girl Plays Drum

Pampers Baby Dry

Toiletries & Toilet Goods

Trusted Mamaneh

Panasonic Contest

Household Equipment

World Cup '98 Promo

Pantene Pro-V

Toiletries & Toilet Goods

Marriage

Ponds Clear Strip

Toiletries & Toilet Goods

Rejoice

Toiletries & Toilet Goods

Pore Strips Cash Register

Ribena

Drink & Soft Drinks (F&B)

Medal Collection

Salem

Cigarette Brandname

Savage Garden Promo

Salem

Cigarette Brandname

US Billboard Countdown

She Deodorants

Toiletries & Toilet Goods

DJ

Shell

Automotive

Bonus Link Point

Sheildtox

House Supplies

Animation- Mosquito Can't Get in

Smart Shop

Convenience (F&B)

Polariod SpiceCam

Smart Shop

Convenience (F&B)

AAM Membership

Sony Ideal

Household Equipment

Sony Ideal

Spritzer Pop

Drink & Soft Drinks (F&B)

Pop Spritzer

Standard & Chartered Bank

Services

News Opening Promo

Standard & Chartered Bank Services

Higher Education Fund

Standard & Chartered Bank Services Medical Products & Drugs Tiger Balm

Instant Photo Machine Girl On Magazine

Vidal Sassoon

Toiletries & Toilet Goods

Loh Mei Poh

Vidal Sassoon

Toiletries & Toilet Goods

Teluk Intan Tower

Winston Corp

Cigarette Brandname

Chasing White Eagle- Revised

HERE WE GO WITH SOME RIDICULOUSLY

WHAT SHOULD YOU DO WHEN THE BEST COMMERCIAL YOU'VE EVER SHOT FALLS APART AT DOUBLE-HEAD?

MAD FOLD-IN Directors and agencies sometimes find that the cleverest storyboards, the best pre-production plans, the sexiest talents, the most painstakingly captured shots and the latest hi-tech post-production facilities can still result in the worst TV commercials. To find out how you can salvage TVC's like these, fold page in as shown.

FOLD THIS SECTION OYER LEFT

FOLD BACK SO "A" MEETS "B

POWERFUL AND IMPRESSIVE SHOTS DON'T ALWAYS CUT IN WELL WITH THE REST. A TVC MUST STRIKE THE RIGHT BALANCE BETWEEN STORY AND STYLE. YOU DON'T CLICK TOGGLES ON A MACHINE TO GET THAT. QUESTION IS WHETHER A PROFESSIONAL'S BEHIND IT, EDITING THE FILM TILL IT FINALLY WORKS. AND A PRO'S STYLE IS ALWAYS INCOGNITO!

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Towards Digital Radio in Asi Asia.

A highly diverse populace.

A distinctively complex market-place.

And a challenging opportunity in regional radio broadcasting.

For the first time in the world, an assembly of technology is now available.

To propagate regional market broadcasting.

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JRTIME MANAGEMENT & PROGRAMMING SDN BHD (403472-D) Centre, Technology Park Malaysia, Lebuhraya Puchong-Sg. Besi, Bukit Jalil, 57000 Kuala Lumpur. Tel: 03-583 :

Fax: 03-583 3877

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