Adoi Malaysia 2003 January Issue by Sledgehammer Communications (M) Sdn Bhd

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aDOl magazine is published every month by Sledgehammer Communications (M) Sdn Bhd 22B, Jalan Tun Mohd. Fuad Satu, Taman Tun Dr. Ismail, 60000, Kuala Lumpur, Malaysia. Tel: 603-7726 2588 Fax: 603-7726 2598 E-mail: ham@pop.jaring.my

The beer advertising controversy, which began in December when Selangor Mentri Besar Datuk Seri Mohammad Khir decided to unilaterally ban beer logos from sign coffee boards, fizzled out when the major beer distributors collectively agreed to "tone down" advertising. In the days following the Mentri Besar's decision, there was uproar in the Chinese press, with editori als in Sin Chew Daily and Nanyang Siang Pau slicing and dicing the ban from just about every direction. There was a fair amount of criticism in the English press as well. In The Sun, Citizen Nades called the decision "myopic". That means "a lack of understanding or foresight" (I had to look it up). In the midst of the controversy, Federation of Malaysian Consumers Association president Datuk Prof Dr Hamdan Adnan weighed in, stating that he wanted advertisers and the media to include positive messages in their commercials and not think purely about profit. Under the circumstances, the beer boys' agree ment to self-censorship was the right thing to do in protecting their business interests. In reality, they count themselves lucky to be doing business in a country where roughly half the adult popula tion shuns alcohol. They know that better than anyone, and that's why they're flexible and open to change - in Malaysia it can mean survival. There are many serious marketing issues con

cerning this ban and it's apparent retraction (isn't back-pedalling hell). First and foremost is the millions upon millions of sponsorship Ringgit paid for golf, rugby, and football (Malaysia did PLAY in the Tiger Cup). Are we prepared to set in place the kind of laws that will dismantle this generous sponsorship? After all, at the last Carlsberg Malaysian Open I saw plen ty of people enjoying the golf but not the tipple. The Star and the New Straits Times surprised many by jointly announcing a 20 sen increase in cover price from 1 January 2003. Newspaper ven dors are now charging RM1.20 in the peninsula and RM1.80 in Sabah and Sarawak. The increase was expected, as many market analysts had been issuing warnings of rising costs, but the joint news conference was not. The Star also used 1 January 2003 to launch a revamp of the paper and raise it's advertising rates by 15%. The paper remains easily the most widely read English daily with Q3 2002 readership of 1,213,000. Second is the New Straits Times (480,000), third is The Sun (158,000), and fourth is the Malay Mail (92,000). Enjoy the issue!

What's hot in this issue... * _j

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Josh Sklar: The Great Leap Forward

Pfi

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14 18 35 38

Direct Marketing Kurt Crocker: Back to Basics

Features/Reviews

Audit Bureau of Circulations

© All rights reserved by Sledgehammer Communications (M) Sdn. Bhd. No part, of this magazine may be reproduced in any form with out prior permission in writing from the publisher. While every effort has been made to ensure the accuracy of the information in this publication, the publisher and the editor assume no responsibility for errors or omissions or for any consequences of reliance of information in this publication. The opinions expressed in this publication do not necessarily represent the views of the publisher or editor. Advertisements are the sole responsibility of the advertisers.

Interactive

Chris Howden: Whispers With Sheep Julie Lingan: Welcoming the Unknown Dean Johns: A New Leaf Greg Paull: Agency Compensation Michael Newman: Coming Over All Emotional Paul Loosley: The 2002 'Shut-Up About Awards' Awards

I M1

Tobacco: More Restrictions, More Spending, Less Teens Neil French Charms the ADOl Correspondent 00H LongXi 2002 Results

2it

Cover Story: Saatchis' Edmund Choe Millicent Danker: Perception Takes a Giant Step

aDOl MARKETINGCOMMUNICATIONS 3

CoverStory

"I really enjoyed myself at Grey, Batey and O&M, but it's like courting a woman you don't want to marry the first person that comes along, you want to give yourself a chance to meet as many as possible."

- Edmund Choe

, Âť-A *. :t. ,

CoverStory

A Time When Saatchi creative Edmund Choe led his agency up to the Shangri-La stage to accept the Golden Kancil at the Kancil awards in September, a strange phenomenon was taking place: There was a complete lack of malice in the minds of the 1,000 or so in attendance. People were genuinely happy for the Saatchi team. Well maybe not everybody. There was an SMS that made the rounds almost immediately alleging the creative concept of the winning Toyota UnserlVC was conceived abroad in Hong Kong. And it was in a way. It turns out Edmund Choe was in Hong Kong when he came up with the idea for the ad together with regional CD Craig Davis. But frankly, Edmund cares little about what's been said or done in the past. He's a pessimist. But not the type that thinks much of the glories and failures of the past. He is however, concerned about the future - that which hasn't yet been said or done... The buzz on the new Toyota Unser spot breaking mid-January, is that it has a shot at Kancil Gold in 2003, and perhaps anoth er run at the big prize. Edmund Choe, ultimately the man behind the spot, is too outwardly humble to be caught up in that sort of wild speculation. But that doesn't mean he doesn't feel the pressure. "2002 was just the beginning. If we don't do better next year we are just one-hit-wonders," Edmund says. "And there's no way we can afford that." But Edmund does know that Saatchi is headed in the right direction creatively. And there's more than a few people that believe the 39-year-old executive creative director is the primary reason why so many agency ideas are turning heads. Saatchi Asia regional CD for Asia and Africa Craig Davis remembers sitting at the off line edit for the Golden Kancil TVC. The last shot wasn't working as well as it could, and Edmund declared a reshoot in the mid dle of the night. "It wasn't the most popu lar decision," Craig says. "But it was the right one."

Press campaign for the Toyota Hilux,

TOYOTA UNSSR SPACIOUS. Still from the "Chase" - the Golden Kancil winning TVC

aDOl MARKETINGCOMMUNICATIONS 5

CoverStory "Saatchi & Saatchi has a real, existing

admits that someone dropped the ball on

used a classic letter-writing campaign and

network," says Edmund. "Everybody brags

this one. "That situation was handled

quickly found a position with a small,

about their network, but the network in

badly. It left a very bad taste in people's

now forgotten design firm in Singapore.

Saatchis actually works. I can pick up the

mouths."

phone and easily discuss creative ideas with CDs in Bangkok, London, wherever." "A great idea in KL may not have a

Working as a one-man art department,

But a little more than a year later, like

Edmund only stayed a few months before

the proverbial Phoenix, Saatchi rose from

departing for Grey. "I got lucky with Grey.

cramped

That was my first real advertising job, and

client here, but doesn't mean that our

Seventies-like Damnsara Heights digs for

that's where I really got into the concept

regional people can't find a home for the

the bright and airy fifth floor in the CP

work. I really began my love affair with

idea somewhere else. If it wins a gold lion,

Tower in Phileo Damansara.

advertising whenI was at Grey."

the

ashes

and ditched

the

proper credit is given. I don't think

"I started reading ad books, trying to

there's one other agency network that

find out who's who in the business. I even

does that on a regular basis." "And," adds Edmund, "This opens up clients' brands up to all the top creative people in the Saatchi network." But as rosy as this seems, the Saatchi flower garden in Malaysia hasn't always

Saatchi & Saatchi Malaysia has, in the last five years, litreally seen the lowest of lows and the highest of highs

been in full bloom.

applicant number 2,005!" Edmund followed fellow Grey colleague Spencer Chan when he set up his own agency. But that didn't work out as planned, and he next found himself at Batey. Over the

Saatchi & Saatchi Malaysia has, in the last five years, literally seen the lowest of

tried to get a job with Neil French, who was with O&M at the time. I was probably

next two years, he honed his skills at the Along with the new

address,

the

agency, working on such portfolio building

lows and the highest of highs. In early

agency brought in Edmund as ECD. "You

1998, amidst the plummeting Southeast

could say I jumped at the opportunity," he

In 1987, as luck would have it, O&M

Asian economy, operations in Malaysia

chuckles. "What canI say? I like the place!"

finally called. But it was with a cruel twist

came to a virtual standstill - the entire

According to Edmund, he never seri

of irony - Neil French had already depart

agency was disbanded with the exception

ously let his veterinarian or pilot dreams

ed the agency. Edmund took the job any

of the small team handling P & G.

get in the way of his ultimate career des

way and stayed on until 1990, when after

tiny - that of an adman.

half a dozen agencies in almost 10 years,

At that point, an organised Saatchis PR campaign was almost nonexistent - many

studied

art

England

accounts as Singapore Airlines.

and

he walked through a new set of doors for

came to believe the agency no longer exist

returned to SE Asia in 1981, ready to take

the last time when Linda Locke pinched

ed in Malaysia in any capacity. Edmund

up just about any job he could find. He

him over to Saatchi & Saatchi.

The Saatchi team responsible for for the Toyota Golden Kancil: (clockwise from bottom centre) Edmund, senior art director Kelvin Leong, account director Augustine Ng, copywriter Adam Miranda, executive producer Debbie Manuel, account manager Justin Dee

Gp&

CoverStory

Series of three print ads from the new Guinness campaign running in Singapore and Hong Kong

"Edmund's never 100% satisfied with anything and is always trying to make ideas simpler and stronger. It's that restlessness that makes him so good." - Saatchi & Saatchi regional creative director Craig Davis "I really enjoyed myself at Grey, Batey and 0£rM, but it's like courting a woman you don't want to marry the first person that comes along, you want to give your self a chance to meet as many as possible. And when you meet the right one, you'll know it. Saatchi is the right one for me; I just love the culture here." And what that culture meant for him, was a decade work ing at Saatchi & Saatchi Singapore with the likes of Locke, Craig Davis and David Droga, now the worldwide creative head of Publicis. And then came the Malaysia chapter. CEO Matthew Seddon arrived in the country at roughly the same time as Edmund and has proven to be an ideal fit for the ECD. "Matt coming along was a blessing for this agency," Edmund says. "He's such an optimist and he exudes that kind of confi dence when he's with clients. Creatively we've been able to match that and produce work that is solid and fresh." Craig says that Edmund is a spirited thinker, a great art director and one of the "most humble and honourable creative people in the industry." He's also his own toughest critic, says Craig. "He's never 100% satisfied with any thing and is always trying to make ideas simpler and stronger. It's that restlessness that makes him so good. You know that

The latest "Adam King" TVC, running in Hong Kong and Singapore. Director is Andy Lambert of PARTIZAN (UK)

The newest Toyota Unser TVC. As with last year's "Chase", the director is once again Barney Chua of CARROT FILMS

aDOl MARKETINGCOMMUNICATIONS 7

CoverStory

'Pain", "Beauty" and "Baby" - This print campaign for Look was a joint collaboration between Saatchis in Kuala Lumpur and Hong Kong and centres around the line, "Anything for the shot'

he's done 20 different layouts for an idea before he knows he's found the right one." Now that Edmund's right-hand man, Szu Hung, has decamped to McCann-Erickson, the responsibility of shaping and guiding the creative output falls even more squarely on Edmund's shoulders. Craig, for one, is confident beyond all doubts. "Edmund is a huge asset to the region and one the most enthusiastic collaborators and contributors in the network," he says. "He's a joy to work with." Edmund says managing creativity can be a tricky business. "You must let creatives grow as individuals; they have to be able to hold their own. As a CD, you have to give them a lot of rope. They may fly or they may hang themselves, but you must give them the rope. It's terrible to 'put people under your wings.' Then they become very dependant." "The creatives at Saatchi are doing fine. A creative department needs someone to come around and knock knuckles every so often, but at Saatchi we have a good traffic lady. That's all the discipline most creative people need."

aDQI

MARKETINGCOMMUNICATIONS

And like any creative, the Saatchis know how to handle the criticism as well as the kudos. The agency took some pretty hard knocks for its rather brash Adam King campaign for Guinness in mid-2002. According to Edmund, that backlash was expected. Maybe even encouraged. "We've introduced this guy now, so with whatever comes next, whether you love Adam King or hate him, you'll want to find out more." A new Adam King TVC with an old-west rodeo theme recently debuted in Singapore and Hong Kong, but a ban on alcohol adverÂ tisements on TV is preventing the ad from running in Malaysia. Ultimately, though, Edmund sees Saatchi & Saatchi Malaysia like a good restaurant. "I'm the chef in charge of the kitchen and Matt's the manager - he runs the restaurant. When the client walks in and meets Matt and the guys they know exactly what they're in for. The food is great and the service is great. If either are crap, people are not going to come back."

Edmund never seriously let his veterinarian or pilot dreams get in the way of his ultimate career destiny - that of an adman.

He's got five Cannes lions, four Clio statues, a silver D&AD, several One Show pencils and the Golden Kancil. And all he ever wanted was to get into the shot with the model...

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aDOI

ASIA PACIFIC

Malaysia New Business Scoreboard August to November 2002 RANK

lAST MONTH

AGENCY

MAJOR WINS

ESTIMATED BilliNGS (RM) AUGUST TO DECEMBER 2002

MAJOR lOSSES

OVERAll AUG TO DEC 2002

MAINSTREAM AGENCIES (1)

Grey Global Group

First Mobile Group Mitsubishi/Citroen/Ssanyong Hugo Boss (project) Tops marketplace (project) Fairlane Hotel

15,500

(2)

Bates

Parkson, others

6,000 8,000

Shell BTl

14,500 6,000

(NA)

EuroRSCG

Maxis Hotlink

Shell

(3)

BBDO

Guthrie, Honda ASIMO

4,900

5 6

(4)

Rapp Collins

UOB , Gamuda Bhd , Swiss Re

3,500

(5)

JWT

Pfizer (Viagra) , Celcom PrePaid

6,500

(6)

leo Burnett

Bernas Rice, Sony CyberShot

1,300

(7)

D'Arcy

TetraPak

1,000

(8)

McCann

Neslac

2,600

IKEA, Red Bu II

levisI Dockers, UOB

5,000

2,500

Greg Paull Principal, R3 Asia Pacific

MEDIA AGENCIES (1)

MindShare

Unilever

44,000

(2)

OMD

Sara lee, Guthrie

13,000

44,000 Australian Tourist

10,500

Commission

(3)

(N/A)

(4) (N/A)

The December period saw a lot of major reviews but no firm decisions by publication time. The largest confirmed wins for 2002 included the Honda ASIMO win for BBDO and the Neslac win for McCann over Publicis (a realignment) . Grey Global Group and MindShare won the overall for mainstream and media agencies respectively. Grey's success came from good results on the FMG Group and Mitsubishi. MindShare's massive Unilever AOR was the key to their result. Much of our last month has been on assisting clients on their end year reviews with agencies. One common thread has been the clear need for an agreed brief up front and a corresponding response from the agencies prior to creative. While demands on time and money often make this difficult, we've noticed that when this is done, creative reviews become far more streamlined and easier. From February issue, we'll clear the slate and start from scratch- may the best agency win. ~

Zenith

Toyota

10,000

MediaEdge:CIA

Pioneer , lee Kum Kee, others

2,800

WMD(TBWA)

Australian Tourist Commission

2,500

Universal McCann

Neslac

2,600

Piyush Named Top Creative

Unilever

-8,400

Th e New Business ScoreBoard is compiled m onthly on behalf of Adoi magazin e by RJ, a consultancy specializing in agency relationships, remuneration and reviews. All billings fig ures are annualised and are calculated based on Rj's estim a tes, adjusted from AC Nielsen ADEX figures or derived from agencies directly. Agency losses as well as wins are recorded, if n ot shown. We attempt to accurately capture all new business activity in Malaysia - please email greg@rthree.com if you believe we have missed or incorrectly recorded any in forma tion.

The Amazing Race Cruises Through Singapore and Malaysia ... Over 10 million American viewers and millions worldwide watch The Amazing Race every wee I< •••

HONG KONG-based Media magazine has named Piyush Pandey Creative Person of the Year. The magazine conferred the Asia-Pacific award on Ogilvy & Mather India's national creative director on 13 December 2002 at a ceremony in Hong Kong.

a001 MARKETINGCOMMUNICATIONS

THE Amazing Race, a popular American reality programme featuring a dozen teams racing around the world, recently featured a stretch of episodes showcasing Malaysia and Singapor e. The programme with a seemingly limitless budget had teams flying into Kuala Lumpur from Switzeraland. From KLIA, teams made their way to the Petronas Twin Towers and Ampang Park before catching a KTM train to Singapore. In

the Lion City, several of the teams swam with pourpoises in the Singapore Zoo, while others followed directions to locate Phua Chu Kang aka Gurmit Singh in a HDB flat. Over 10 million American viewers and millions worldwide watch The Amazing Race every week. In the US, it airs on Wednesday nights . The winners of the race and US$1 million dollars were Flo and Zach, a pair of twentysomethings from New York City. ~

TheStarOnline. More than just the daily news Get uirtually any information deliuered daily to your PC. From who to what to when to where to how you'll find TheStarOnline most informatiue. Euen after readiny the paper from couer to couer.

thestor*" online

http://thestar.com.my

Whispers/Sheep By Chris Howden

After the release of the second installment in the Lord of the Rings trilogy - The Two Towers once again the world's imagination has been captured by images of a wondrous land and small people with furry feet. We're talking hobbits. And now after four years of bickering or more politely - negotiat ing - the location of Hobbiton can be revealed. Bilbo Baggins's little hobbit hole - Bag End can finally be viewed on farmland about an hour and a half's drive south of Auckland, New Zealand. The rural land, between Matamata and Karapiro, was chosen because it had no vis ible roads, power lines or houses. The site is expected to become a major tourist attraction, attracting visitors from around the world. Until now the owners of the farm have been unable to

profit from the set remains by offering tours. A "Welcome to Hobbiton" sign in the centre of Matamata has been the only sign of the town's link to the films. But now after negoti ations with New Line Cinema - the LOR back ers, visitors will finally be allowed to crawl into the Hobbit Hole for themselves (For a small fee, of course). It could just make Hobbit Holing the next big thing in New Zealand since bungee jumping. If Bag End's owner really wants a lesson in largess advertising, he should take note of an Air New Zealand Boeing 747 that has been given a new paint job as part of its new promotional identity as the "Airline to middle earth." The image of actor Elijah Wood as Hobbit Frodo Baggins and Sean Astin as the Hobbit

Welcoming

the Unknown By Julie P Lingan

While psychologists profess that fear of the unknown is so widespread, it's as natural as breathing, I beg to disagree. Why, most of my friends get turned on by it. Some, for instance, look forward to it with the same anticipatory excitement like waiting for the stroke of twelve on New Year's Eve. To me, the unknown holds an element of mystique, mystery, even romance, so it never fails to jumpstart my imagination. It's as exciting as the dead of night, you never know what plea sures it may bring. The next chapter you can't wait to get into, in a book you simply can't put down. The road you discover' that leads to nowhere. Even the joy of getting up in the morning, wondering with positive anticipation, how the day will unfold, what surprises it may bring. Before you grumpily say get out of here, let me confess I haven't always been this much of a freak. Maybe my addiction to selfhelp books, particularly on positive thinking, is slowly paying off. My thirst for a stress-free life is at last being quenched by the waters of serenity seeping through my subconscious, rewiring my connections.

12 aDGI

MARKETINGCOMMUNICATIONS

Life is too short. So let's not waste our time worrying about the unknown. What do you think 2003 will bring, apart from the bad news you see on TV? Well, now is the time to dream with your eyes wide open. And a good beginning is embracing the perspective of what's the best thing that can happen to you rather than what's the worst scenario that you're sure will happen. Well, in 2003, you may just stumble across an effective diet that will make you lose the weight you've been try ing to shake off for years. You may be offered a job in a new industry overseas. Or you may still keep your job here but you'll have the chance to get a life - finally after all these years. You may win the lottery, literally or fig uratively with this newfound state of mind. You may get married or have a steamy affair. Or you may be turned on by new found celiba cy and even become a monk! And why not? Welcoming the unknown is a whole lot easier to swallow if you love taking risks. My husband thrives on risks, he is forever encouraging me to do the same. The first time I left Saatchi & Saatchi (I left them three times in 16 years) for an agency that had less

Samwise Gamgee stretches for 36m down both sides of the fuselage behind the Boeing's wings. The eight metre-high decal covers 500 square metres, weighs 60 kilograms and was made from more than 300 separate pieces to form a giant jigsaw made from aircraft mark ing film, the airline said. The film has to withstand temperature extremes ranging from minus 60 degrees Celsius (the temperature at a cruising altitude of 10,600 metres) to 60 degrees Celsius (The temperature under the hot sun on the tar mac). It was also designed to withstand air speeds of 1,000 kilometres-per-hour. The decal is set to be replaced late next year with images from the final part of the trilogy, The Return of the King.

people than our creative division, people questioned why I was leaving behind the security of an established organisation and throwing away the comforts of home. Why take risks, they asked my husband (I don't know why they never asked me directly). He had a simple answer. "Risks? It's a big ger risk crossing the street. You could die on the spot." (Hey, this is highly relevant in Manila.) When I left Saatchi the second time to set up an experiment, the country's first and only all-woman ad agency, people thought I had gone bonkers. And when I left the network the third and last time (I was then in Bangkok during those glorious years when Saatchi was the designer label), the same people who questioned my earlier career moves had their eyebrows flying next to heaven. All because I left to join a small, local ad agency in another country. She's completely lost it, they said. Was it Helen Keller who said something about life being either an adventure or noth ing? What about cliches like no guts no glory? As we begin yet another year and wonder what mystery 2003 holds in store for us, let's all collectively throw away our fear of the unknown because we have to give our sanity a chance to survive; secondly, worrying never made sense, and above all, there is a higher being who takes good care of us. He puts Santa to shame. In so doing, we will all contribute to the universal consciousness that life - what we know of it and just as important, what we don't know of it - is still, indeed, beautiful. Have a happy, exciting year!

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Bates Promotes

A New

by Dean Johns

Across Asia

The Bates Group in Asia has announced a number of promotions that will take effect from i January 2003. David Bridgman has been appointed chief executive officer of 141 Asia, based out of Korea and Herve Deville has been appointed chief operating officer of 141 Asia based out of Singapore. "Their dual responsibility will be to ensure the future growth of 141 in the region and to increase the range, depth and quality of our services to all of our clients in the region," said Jeffrey Yu, president of the Bates Group in Asia. Bridgman, who has worked for 141 in New Zealand and Manila, will continue to have responsibility for 141 Worldwide and Bates Advertising operations in Korea while Herve will pass his current responsibility for Bates Indochina operations on to Rob Graham, currently CEO of Bates Malaysia. "Herve has successfully built the Bates Indochina group over five years and established a clear leadership position in the region," said Yu. "Rob Graham, having previously run Bates Vietnam from 1999 to 2001, is ideally suited to now take on the fast-growing and larger Indochina region and manage what is a range of successful agencies with 12 offices in six countries comprising Bates Advertising, 141 Worldwide and Zenith Media operations," said Deville. Shukri Rifaie, currently the client service director for Bates Malaysia, will become CEO of that agency. "We are proud of Shukri here in Malaysia," said Shafri Mohamad, president of the Bates Group in Malaysia. "Rob had been grooming him to take over responsibility for the office and the growth of the Bates Group in Malaysia has allowed us to make this move right at the start of 2003 and ensure a smooth tranÂ sition is in place." "I am pleased that our business, through the support of clients, has been strong and healthy in 2002 so that we can promote our key individuals to ensure the continued growth and success of our business and in turn our clients' brands," said Yu.

% 3D0I MARKETINGCOMMUNICATIONS

"this was one of the most boring men a watchword for tedium"

IN the process of compiling a book of some of my old ADOI columns, I've been shocked to see how cynical if not critical I've seemed in some of them. So much so, and considering that now is the season of new beginnings, that I've made an uplifting New Year's resolution. Though in a case as dire as mine, it's really more like a revolution. But as Confucius is supposed to have said, "A thousand-mile journey begins with a single step." So let's see if I can take a first, faltering step along the road to looking at life on the bright side. To seeing the glass as halffull instead of half-empty; to counting blessings instead of cursing catastrophes; to finding pleasure in praising virtues instead of reveling in reviling vices. A terribly daunting task, given the evils and weevils afflicting the world, but a cheerful attitude may make me not just a happier person, but also a regular ray of sunshine to my family, friends, colleagues and readers. So let me give it a whirl. Here's a news item that should help make it easy: Australia's most popular television newsreader has retired after forty years on the job. Fabulous. Jolly good luck to the guy. Heaps of money, millions of fans, sent-off in style with a special celebrity telecast, and now for the joys of a well-earned rest. "But hang about," a familiar voice hisses in my inner ear, "this was one of the most boring men in the history of a medium that's a watchword for tedium." But my new self is ready for this, and quick with a charitable

response to the effect that at least the man looked quite presentable, that he read with great accuracy and resonance, and that the sign-off line he used every night, "That's the way it is", was an acknowledged Australian icon. "An Australian con, you mean," sneers the inner voice, still striving to assert itself as my devil's advocate. "You know he ripped the line off from Walter Cronkite of CBS. And you also recall that way back before he even started reading the news he hosted a rip-off of American Bandstand, and did it so tediously that it became known as Blandstand." It's tough to rebut such scurrilous slurs, but the upbeat new me is determined to have the last word. "You're so blind to the beauty of this guy's career," I triumphantly cry. "He wasn't hijacking other peoples' stuff so much as paying them homage. After all, as the great Fred Allen once said, 'Imitation is the sincerest form of television.' There. I knew I could be nice if I really put my heart and soul into it. What a relief and a pleasure it is to find myself viewing the world through rosier spectacles. And now that I've shown you the light, maybe a few of you other carpers, critics and ouchmerchants out there in ADOI-land will be inspired to take a leaf out of my book. Dean Johns is available for strategic, creative, editorial and motivational assignments through creasia@optushome.com.au or Kiernan Advertising Services at edwinak@optusnet.com.au

Newsweek

New Logo, Office For

Edelman

Launches ChineseLanguage Edition

Newsweek, together with Hong Kong's Vertex Group, will launch its sixth nonEnglish-language edition in 2003 - Newsweek Select, a Chinese-language magazine that will be published monthly and distributed in the People's Republic of China and Hong Kong. The announcement was made in New York by Richard M Smith, chairman and editor-inchief of Newsweek and in Hong Kong by Steven Poon, chairman of Vertex Communications & Technology Group Limited. Newsweek Inc, a subsidiary of The Washington Post Company, and SinoWorld CNW Publishing Limited, a subsidiary of Vertex, signed an exclusive five-year license agreement which enables SinoWorld CNW to publish Newsweek Select based on content from Newsweek's US and international editions. It will be launched in 2003 and printed in Hong Kong with simpli fied Chinese characters. Newsweek and Vertex have previously joined to publish Chinese-language versions of Newsweek special issues on child develop ment and adult health. "There is an enormous demand for foreign magazines in the PRC," said Poon. "We will be introducing a world-class, top-quality brand name to Chinese readers." Under the agreement, SinoWorld CNW will handle advertising-sales in China, and Newsweek's worldwide advertising staff will sell ads outside of China. Newsweek publishes three English-language international editions (Atlantic, Asia and Latin America) and now has seven inter national editions under license, of which six are foreign-language, including Japanese, Korean, Spanish, Arabic, Polish and Chinese. Newsweek is the only American newsweekly to publish foreign-language editions. Newsweek's worldwide circulation is over 4.4 million: 3.1 million in the US, and a combined circulation of over 1.3 million for its interna tional and foreign language editions.

Managing director Aloysius Yap and senior administra tive executive Gelis Fernandez at the opening of the new Edelman office at Mid Valley.

Edelman unveiled a new logo and corporate identity at a ceremony in December. According to Aloysius Yap, managing direc tor of Edelman Malaysia, the "image featur ing two overlapping traingles is more than just a visual change." Aloysius said that it symbolised the firm's philosophy of successful partner ships through "open, interactive, and infor mation-rich relationships." Edleman refers to this as the 'Relationship Imperative.' The firm recently celebrated its 18th birthday by relocating to new offices at the Boulevard, Mid Valley Mall. Edelman Malaysia.

"Smile D'Arcy, you've got TIME" - D'Arcy Malaysia, with it's future uncertain amidst last year's Publicis Groupe announcement that the agency faced closure on a global basis, still managed to secure the TIME dotcom Berhad busi ness in a multi-agency shootout, which included Grey Worldwide, Batey Ads and McCann Erickson. The assignment also includes media planning and buying through D'Arcy's Publicis Groupe-partner company, the Starcom Mediavest Group. In Malaysia, D'Arcy's clients include TIME, maybank, gallaher Asia, Western union, Philips, PZrG and Roche.

Yusof bin Taiyebi and Margaret Sivapragasam with Tiger Woods as part of the prize for winning the Coca-Cola National Essay Day Contest 2002. The pair topped more than 260 other entrants from 122 schools. On the right is Coca-Cola Malaysia's operations manager Kenny Pang.

Email ham@pop.jaring.my for details

aDO! MARKETINGCOMMUNICATIONS15

Back to Basics

The Power of Persuasive Advertising By Kurt Crocker, Partner Drayton Bird, Crocker (j Mano Sdn Bhd (DBCErM)

True or False: The main purpose of most

fused. They may have a coupon or response

advertising is to generate sales.

device plunked down somewhere, but it's

The correct answer seems obvious. Over 80 years ago, a copywriter named John E

Whether the ad sells off the page or offers further information, it must ask for immediate action, and the response must be measurable. Anything less dis qualifies it from the honour of being called a "direct response advertisement."

Kennedy defined advertising as "Salesmanship

There are two types of direct response

in print." It should be the battle cry of

advertisements. The ones that sell some

everyone in our business, and applied to

thing "off the page," offering a means by

every medium. Including "Salesmanship on

which a consumer can request and pay

Air" for TV and radio. And "Salesmanship in

for the advertised product immediately,

Cyberspace."

promising delivery by mail.

Some in our business may argue that

Then there are the two-step direct

advertising can also serve the purpose of

response ads, which often apply to prod

generating good will. What we call "corpo

ucts or services that are too complicated or

rate advertising," for example, may fall into

technical to explain within the confines of

this category. But corporate advertising

the ad space. These ads offer further

seems a thing of the past these days, as it

details or information about the product,

should be. Why bulk up - and spend money

which the consumer can request by coupon,

- on warm and fuzzy, when you can push

or a contact number. The promised infor

your products or services?

mation is usually either mailed, or deliv

And too many creative people believe their ultimate goal is to win awards and impress

their

colleagues. My partner,

ered by a salesperson. Whether the ad sells off the page or offers further information, it must ask for

Drayton Bird, mentions some very disturb

immediate action, and the response must be

ing research in his book, Commonsense

measurable. Anything less disqualifies it

Direct Marketing. A past survey in Briton

from the honour of being called a "direct

revealed that the majority of creative direc

response advertisement."

tors believed the aesthetic effect was more important than sales results.

Personally, I believe every ad should be responsive. Or at least, more marketers

If those CD's talked that talk to their

should use the power of responsive adver

clients, they'd surely be out of a job. Then

tising to identity prospective customers.

again, as Drayton goes on to say, "Marketing

Distribution commitments may prohibit

directors often want to run commercials

some from selling directly to consumers, but

that reflect their good taste, which their

many others could benefit greatly from lead

relatives and their friends at the golf club

generation advertising. Direct marketing campaigns that identify large numbers of

will applaud." So sadly, there are many to share the blame for the current state of flaccid ads.

prospects and convert them into customers are blatantly undervalued in Malaysia.

There are ads running in press and mag

But even if your ad is not responsive-by-

azines that do indeed, seem intent on sell

objective, it should do more than just "look

ing something. But there are very few

pretty" or worse, merely exude evidence of

heroes. Even DR ads, which should be the

your clever, creative mind. As marketing

purest form of "salesmanship in print,"

directors brief their creative teams, and

often fall short. You don't see many of them

creative teams storm for the big idea, only

here in Malaysia.

one question should be on their minds:

And the ones that do

appear on rare occasions seem oddly con

16 aDQI MARKETINGCOMMUNICATIONS

not part of a message and visual that com pel action.

"How can I sell this damn thing?"

Check Out

THE WORK The Work is out now. Published by Campaign Brief Asia, this new annual publication showcases the best advertising from Asia, Australia and New Zealand. Entry is free to any agency in the region, as long as the ad has already won an award at an existing national, regional or international awards show. This 224-page volume features 235 sin gle ads and campaigns from TV, press, maga zines, outdoor and radio. The Work costs AUD$ioo. Ordering details are available on the Web: http://www.campaignbrief.com. Is Your Agency Here? (# of pages in The Work)

1 0 A M Singapore

Adlink JLS Perth Bozell Kuala Lumpur D'Arcy Shanghai DYR Kuala Lumpur FCB Melbourne FNL Communications Sydney GeneratorBates Auckland Grey Worldwide Melbourne Half Design & Advertising Singapore Hemisphere Leo Burnett Manila Icecream! Singapore JWT Singapore Leo Burnett Kuala Lumpur Leo Burnett Seoul Lowe Auckland Marketforce Perth Meares Taine Auckland Results Bangkok Samuelson Talbot Melbourne SRVT Sydney TBWA Bangkok

(1) (1) (1) (1) (1) (1) (1) (1) (1) (1) (1) (1) (1) (1) (1) (1) (1) (1) (1) (1) (1) (1)

(1) The Brand Agency Perth (1) Whybin TBWA Melbourne (2) Bates Hong Kong (2) BBH Singapore (2) BWM Sydney (2) BBDO Singapore (2) Clemenger BBDO Sydney (2) FCB Singapore (2) Grey Worldwide Kuala Lumpur (2) Grey Worldwide Mumbai (2) Impiric Singapore ( 2) John Bevins Sydney (2) JWT Melbourne (2) JWT Sydney (2) Leo Burnett Hong Kong (2) Leo Burnett Sydney (2) Lowe Bangkok (2) Lowe Singapore (2) Ogilvy & Mather Singapore (2) Saatchi & Saatchi Auckland (2) Saatchi & Saatchi Wellington (2) Young & Rubicam:thinking Auckland Clemenger BBDO Wellington (3) George Patterson Bates Sydney (3) Kinetic Singapore (3) Leo Burnett Melbourne (3) M&C Saatchi Sydney (3) Naga DDB Kuala Lumpur (3) Quadrant Mumbai (3) Whybin Lawrence TBWA Sydney (3) Y&rR Mattingly Melbourne (3) Young £r Rubicam Adelaide (3) Bates Singapore (4) D'Arcy Hong Kong (4) DYR Singapore (4) Leo Burnett Bangkok (4) Publicis Mojo Auckland (4) Saatchi & Saatchi Beijing (4) Batey Singapore (5) BBDO/Guerrero Ortego Manila (5) The Campaign Palace Sydney (5) Saatchi £r Saatchi Bangkok (5) TBWA Singapore (5) (6) BMF Sydney (6) DDB Auckland Clemenger BBDO Melbourne (7) (8) Saatchi & Saatchi Sydney BBDO Bangkok (9) Leo Burnett Singapore (9) Saatchi £r Saatchi Hong Kong (9) (10) M&C Saatchi Melbourne Colenso BBDO Auckland (12) Saatchi £r Saatchi Singapore (14)

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

MUSIC, SOUND DESIGN, VOICE RECORDING, LOCATION SOUND RECORDING, MIXING FOR TV AND RADIO

Imaginex Sdn Bhd 584, Jin 17/17, 46400 Petaling Jaya.

Tel: 603-7956 7753 Fax: 603-7958 5493 www.imaginex.conn.my info@imaginex.com.my

CHOOSE YOUR TEST-DRIVE LEVEL

Are you

to payor get EXPERIENCED

...From the nineteenth centur on quantity. The bigger the m today, over 90% of all new quality based - setting a fee ADVANCED

"Setting up 3

f6G

requires a meeting

EXPERT

of minds on needs and hOW tO deliver them - and it's thiS meeting Of mindS that Offers UD an eVen higher potential

MINI KUALA LUMPUR 207, JALAN BUKIT BINTANG 55100 KUALA LUMPUR TEL: 03-2142 2288 FAX: 03-2142 2289 H/P: 019-664 6131 CRAFEI)

—

payment

by reSUltS

- Greg Paull

The compensation of agencies is going through a sea change around the world, and rest assured, this is going to affect Asian rela tionships. Some marketers and agencies are ready. A lot we meet simply are not. Are you? From the nineteenth century until today, most advertising agencies have been paid on quantity. The bigger the media bud gets, the bigger the revenue. However, in

the us toda y- over

9° % of

a11 new ne s° tia -

tions that we get involved in as consultants

are quality based-setting a fee for the esti mated scope of work.

Why fees? Moving from a commission based to a fee based system is never easy, takes work, hone s t y a n d professionalism from both parties, and is unique to every single client rela-

tionship. Unlike a 15% commission, there is no 'off-the-shelf $ioo,ooo-a-month fee rela-

ti° ns hip- But it's important to 'graduate to' because it really works in the interests of parties. The agency gets a guaranteed commitment and cash flow from the client and can plan resources more confidently. The client likewise can see exactly what they are paying for, and request and demand the right talent for their business.

AUTO BAVARIA

How to set up a fee

AUTHORISED DISTRIBUTOR OF MINI IN MALAYSIA

Setting up a fee means the agency needs more discipline - is everyone in the office

brave enough paid for results?.,,.. y until today, most advertising agencies have been paid edia budgets, the bigger the revenue. However, in the US negotiations that we get involved in as consultants are for the estimated scope of work...

filling in timesheets accurately? Are they being linked to what was promised to the client? Are they reviewed with the client every six/twelve months? Have you accu rately forecast your overhead? Are your cre ative people working at the 'speed' you planned for? If this makes your industry sound too 'businesslike', well, welcome to Wall Street and the new reality of publicly listed agencies. The fee system also forces the marketer to a little more discipline in terms of scope of work, what talent they will need, what tasks need to be done. Setting up a fee requires a meeting of minds on needs and how to deliver them - and it's this meeting of minds that offers up an even higher potential - payment by results.

We've just completed a research project on 100 top advertisers in Asia, the top lines of which will be presented later this month. Less than 10% of them pay their agencies an incentive for results. Why is this? Of course, the trend has always been - "If we don't per form, we're fired" - and having been beaten with this stick, its time for the carrot - per form beyond expectations and earn higher profits. Today, enlightened agencies such as FCB and others in the US have said 'We won't sign up any new client agreement unless there's a PBR element to it." The natural question is always 'how do you define results' and again, every relation ship is different - but it is almost always a blended fee based on the performance of the agency, the advertising and the advertiser.

Payment by Results (PBR) - Relationship Nirvana Nothing secures a long-term relation ship more powerfully than an agency agree ing with a marketer to earn a part of their fee based on results. It shows they are will ing to put their money where their mouth is - and it shows that the client recognises and respects quality. Books have been written on payment by results - the criteria, benefits etc. The best and simplest statistic we quote is 83%. That's the percentage of marketers in a US study who, having shifted to PBR, noted an improved performance from their agencies. A pretty good thing.

Paying the agency more requires bravery. Working for results in an agency requires bravery. Which relationships in this part of the world are prepared to take the lead? The /fA's is running a workshop on agency com pensation entitled 'How to Implement Fees' in Kuala Lumpur featuring R3, Saffron Hill Research and US compensation specialist Jones

Lundin

Beals. The

event is scheduled for 23 January 2003 at the Prince

MINI KUALA LUMPUR 207, JALAN BUKIT BINTANG 55100 KUALA LUMPUR TEL: 03-2142 2288 FAX: 03-2142 2289 H/P: 019-664 6131 (RAFEI)

Hotel. More details are available from J Matthews at the 4A'S at matthews@macomm.com.my Greg Paull (greg@rthree.com) is principal of R3 Asia Pacific, a consultancy specializing in clientagency relationships and compensation

AUTO BAVARIA AUTHORISED DISTRIBUTOR OF MINI IN MALAYSIA

A true PRofessional by Millicent Danker

Communications as a discipline is the common thread, I guess. I've always been fascinated by the written word, a n d t h e w a y in w h i c h p e o p l e c o m m u n i c a t e w i t h o n e another, face-to-face, or in written form. - Millicent Danker Millicent Danker is sure of one thing after 30 years of in journalism, publishing and public a relations. "Both my daughters are off my payroll, now!" Don't panic... the founder, managing director and principal consultant of Perception Management is not abandoning her brood. Her remark is simply public relations code talk for "I raised my children to adulthood while building a business. Now that they're on their own feet, I'm ready for my second career." And we got all that from her one little statement? Well, Millicent Danker is good. Don't you think? Arguably Malaysia's senior most public relations practioner, she's recently signed an affiliation agreement tying up her own con sultancy with the Chicago-based Golin/Harris International. ADOI recently sat down with this communications veteran, to get the pulse on both her, and the industry...

Tell us about your recent decision to sign with Golin/Harris International... We sometimes get Clients asking us if we have affiliates in the region, so that they can work with someone they trust in another market. We had been looking to affiliate our selves with a regional or global firm - but not in an aggressive way. I knew quite a few of the names behind Golin/Harris in Asia and I know them as serious, credible practitioners. Some of us had worked together in the past at Burson-Marsteller. Anne Forrest who merged her own firm in Hong Kong with Golin/Harris came out to Kuala Lumpur for a conference. We had a long chat and soon after, we were offered an exclusive affiliation. I believe we all respect one another as pro fessionals in our field. We want to work to the highest standards of PR practice. More

20 fjDOI MARKETINGCOMMUNICATIONS

importantly, I think we found that we shared the same philosophy. Perception Management has always wanted to remain small and close to our clients. Technical com petence in PR alone is not enough. You need to understand the Client's business and keep your eye on the issues. Golin/Harris is that kind of firm as well. It seemed a good idea to work together.

How would you assess the "State of the PR Industry" in Malaysia? PR agencies were first set up here along side the advertising agencies which came out with their clients from the US and Europe into the Far East, I believe. The scene was dominated by the Ogilvys £r Mathers of this world. The PR specialist firm, BursonMarsteller, came out perhaps 20 years ago and grew to be a credible player. I spent some years with BM in KL and we were a very pow erful team. The early senior counselors were foreign, largely American, who had both the communication skills and the business savvy. In time, Malaysian practitioners began to establish their own little shops and some of these have survived and indeed, thrived. The early ones were Prestige and BostockMohamed and Asia PR. I think we now have a large number of home-grown PR consultancies, of varying sizes, existing alongside the global franchises. This is a healthy trend, but the quality and experience behind the companies may be somewhat lack ing. I know that in the UK, for example, a PR agency will not be headed by a 2o-something or an early 30-something, for that matter. CEOs pay for advice and they want some age and experience behind their counselors. Being a PR counselor or advisor is not about writing and disseminating news releases or

pitching interviews. There has to be a com munication strategy behind every message. A PR practitioner can only offer good counsel if he or she has built up a portfolio of cases, a credible track record of communication prob lems solved for different companies. The industry needs to be upgraded, badly. Malaysian companies, Malaysian institu tions, Malaysian brands - and the Malaysian government - cannot command a credible share of voice in the global marketplace if they are represented by PR and communica tion consultants who are not fully qualified and who lack competence and experience.

Is it a fair assessment that the foreign multi nationals in Malaysia are more accepting of modern public relations practices? Is this inaccurate? Do truly Malaysian companies like Petronas and Proton understand the value of good PR? We've not worked with Petronas or Proton but we have clients who are Malaysian PLCs. I'd say that on balance, the multinationals are more PR-sawy - but that could be because PR and communication policies are determined at headquarter-level and filtered down through to the different global markets. Hence, on the ground, we are mostly helping to customise policies and strategies that are already laid down, to suit the local environment. Malaysian companies, by comparison, have much more to do on the developmental side - policies have to be developed and insti tutionalised. This can take up a great deal of time. For example, in today's environment where companies are expected to practise better corporate governance, disclosure has become a big issue. Do Malaysian companies have disclosure policies, to begin with? Or, if you look at good corporate social responsibil-

ity practices, how many Malaysian PLCs even have a policy? Many are reacting in a kneejerk manner to requests for donations and trying to uphold the caring society without any coherent strategy or clear direction. Good PR counselors should be able to help develop corporate social responsibility policy as this is an aspect of corporate reputation and image that has been largely ignored.

What's the single biggest challenge currently facing the PR industry in Malaysia? There are three: Language, specifically English language competency, quality profes sionals, and lack of regulation. Basically anyone can set up a PR shop here and get away with it.

What's the Perception Management 'X-factor? How do you differentiate yourself from competitors? We have remained small, deliberately, and in that way, we remain very close to our clients. We are big on client retention - some of our clients have been with us since we began business in 1996. We are also very hands-on and we try to understand the business and communication problems of our clients. This means keeping abreast of industry issues, client-specific issues. This means knuckling down to write the media brief, or the speech, or the op-ed article. If you don't do this, you become a tech nician; or you become part of the old gin-andtonic brigade, the professional networker. That's no good at all; that's not value-added.

You've been quite busy engaging yourself in seminars and workshops for clients and others. Is there a danger that the better your clients and students get, the less they'll require your own company? I 've always been happy to share knowledge. In fact, we have a client - a telecommunica tions service provider - whose PR department we helped to set up. We even recruited the head of department. Within a few months, we talked ourselves out of a job. I'm proud of this fact; and interestingly enough, we now have the equivalent of a friend for life, it seems. The client continues to work with us on projects.

For the record, how did a newspaper and magazine writer and editor end up running her own PR house? Communications as a discipline is the com mon thread, I guess. I've always been fasci nated by the written word, and the way in which people communicate with one another, face-to-face, or in written form. It is said "In the Beginning Was The Word", and I take this by a stretch of imagination to mean that every thing in life has its basis in the word... rela tionships, understanding, happiness, peace,

war, business deals, success, education, prayer. Journalism extended and deepened my understanding of how communication works at the broadest sense, the mass media level. The power of the media, the power of the pen was real and exciting. We touched the lives of people with our words. We changed percep tions. We created heroes. We built societies. I entered PR more by accident than design. Because of something I had written the word, again! - a well-known head of PR in a large organisation called to offer me a job. My task was to write speeches, brochures, scripts, newsletters, reports, conference papers. It was fascinating work - writing dif ferent things for different audiences, writing from a company perspective rather than from the perspective of an individual journalist or feature writer. I guess over time, the confidence in my ability to communicate and to help others to better communicate grew. From there, it was only a matter of time before I decided I was ready to go out on my own. Of course the fact that I believed I would have an easier time being my own boss was a huge motivational factor. That has turned out to be the biggest illusion of my life!

What's the future of for both Perception Management and yourself? For the firm, I'd like to help mentor a core group of people who can be good practitioners and counselors in their own right. I'd also like to identify a successor or successors who can take the company to its next level. This can't be achieved overnight of course. I believe in importing skills, as well. We are on the lookout for a general manager from the UK. I believe the UK has a pool of excellent professionals that we can tap into. We have a consultant from the UK at the moment and she works to a high standard. I think the younger generation of Malaysians have much to learn from the work ethic of more developed societies.

Is this tie-up with Golin/Harris the "begin ning of the end' for you in terms of active PR consultation? Do you see yourself in the role of educator and perhaps even publisher in the coming years? I don't see an end in sight just yet! I want to be an active consultant for as long as I can. But I find I am also enjoying the opportuni ties to train and educate younger consultants. I'd like to think of myself as an educator and write a book or two about PR practice in Malaysia. Finding the time to write when you are actively servicing clients could be quite a challenge - but I might consider taking a sab batical when the time is right. One does need to take time out to reinvent one's self.

Call it crap. Call it spam. Whatever you call it, it's not getting through to your audience. Let us show you the RIGHT way of implementing email marketing campaigns. Call us at 03-7728 6043 or email sales@netinfinium.com for a chat!

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Zenith Says Adspend Will Recover From Tobacco Ban by Leonard Tse

Gerald Miranda

The ban on tobacco advertising is expected to make a dent in total Malaysian advertising spending next year, but it will only be a temporary setback for the industry, said Zenith Media. According to Zenith's global advertising expenditure forecasts published in December 2002, overall expenditure grew I2.3% in the first half of 2002, driven mainly by the FIFA World Cup. Growth in Q3 was slower at 10.3% and in aggregate the year ended with about 8% growth, or RM3-4S billion in total advertising expenditure.

This follows the adoption of a new set of advertising standards agreed upon last year by the world's three biggest tobacco companie}: British American Tobacco, Philip Morris, and Japan Tobacco International.

24 a001 MARKETINGCOMMUNICATIONS

"We expect 2003 to register a much lower growth of 2% to RM3 .s2 billion since it will be the first full year of tobacco self-regulation," said Gerald Miranda, CEO of Zenith Media Malaysia. "The tobacco category accounts for so/o of total advertising expenditure. Television will be particularly affected, as tobacco accounts for IS% of all TV advertising," Gerald reported. "But the slack created by the tobacco advertising ban will soon be taken up by other advertisers moving in to fill the void," he said. "Big ticket media sponsorships that t raditionally used to be monopolised by th e tobacco companies with their big budgets will now be more accessible to other advertisers." "And probably at reduced rates too, because the cigarette companies have always paid a premium for them in the past." "The bane of tobacco companies may prove to be a boon to other advertising cate-

gories, which can only be positive for the industry in the long term." Zenith expects advertising expenditure growth to recover 6% to RM3.73 billion in 2004, fuelled by the Olympics and Euro 2004. Growth should be even higher at aroun d IO% to RM4.I billion in 2oos as the deregulation of the ASEAN Free Trade Agreement stimulates trade and competition. Newspaper advertising will remain the biggest medium for 2002, accounting for 62% of all advertising expenditure, according to the report. TV is expected to attract 2f/o of all expenditure; this excludes advertising on satellite TV, which is not monitored but is perhaps w o/o of the size of the terrestrial TV market. Radio is forecast to grow by IS% in 2002, making it the fastest-growing medium and brining its market share up to 4% for the first time. Magazine expenditure is expected to show a decline of 22% in 2002. @)

In a recent Star n ewspaper repor t, Lin coln Yap quotes British American Tobacco corpor ate and r egulatory affair s dir ector Sharifah Rozit a Syed Sulaiman as saying that BAT will invest "substantial amoun t s" in cert ain key sectors such as point-of-sale promot ions, on e-to-on e communications, or simply a h igher level of personal contact with consumers. This follows the adoption of a n ew set of adver tising standards agreed upon last year by the world's th ree biggest tobacco compan ies: British American Tobacco, Philip Morris, and Japan Tobacco International. Th ese n ew st andards effectively eliminate "mass advertising."

"Compared to mass advertising, th is simply means the cost will go up, especially as we h ave to make sure we on ly speak to consumers who are willing to be spoken to," said Sharifah. The Con federation of Malaysian Tobacco Man u facturers will over see implementation of the new standards in Malaysia. Complaints of non-compliance will be made to CMTM at th e local level. @

Turning Teens Off: CMTM Fights Teenage Smoking with TVCs by Faridah O'Connor

Recently, ADO I spoke to Shailc Abbas Ibrahim,

Health. But in Malaysia, the onus seems to

the CEO of the Confederation of Malaysian

fall upon the Confederation...

Tobacco Manufacturers. CMTM represents the

We are committed to preventing youth

three major manufacturers - British American

smoking, so we take it upon ourselves to do

Tobacco, Japan Tobacco International, and

something. Globally, all the major manufac

Philip Morris, as well as Reemtsma. Together,

turers have a commitment to prevent under-

those four companies represent 95% of the total

aged smoking.

duty paid cigarette market in Malaysia.

Is that a fundamental conflict of interest? The anti-campaign CMTM did in 2000 fea tured home-grown celebrities like Nicol David, Carolyn Au Yong and Ong Beng Hee. This new campaign features more "regulartype" talent. Why the change in direction?

The tobacco companies are committed to pre

After the 2000 campaign, our research said

like beer or alcoholic beverages. This is a long-

venting smoking for those under the age of 18. We recognise that we are marketing a contro versial product. We recognise that our prod uct is an adult product similar to products

loud and clear that teens wanted to see ordi

term effort and the most important thing is

nary people doing ordinary things. We want

the commitment of the tobacco industry.

to attract those between the ages of 12-18, so

Wanting to ensure that youth do not smoke,

we went into an area that they would be very

we will continue the same custom year on

interested in, like music. The TVC we cut we

year to put together a programme and a cam

cut is very hip and trendy - it's fast moving,

paign to make people aware.

and the message is really very clear: You can still enjoy life without smoking.

What was the total media buy for the campaign? From September 2002 to March 2003, we're

Aren't you a little paranoid that the talent in the TVCs will be spotted smoking in front of Suria KLCC, and the whole thing will blow up in your face?

spending close to RM2 million. In Singapore

It was paramount that we used talent that

the primary anti-smoking message seems to

did not smoke. They had to sign a commit

come via the efforts of the Ministry of

ment form that they will not smoke.

Title: Tour Guide Product: Kit Kat Production House: Passion Pictures Client: Nestle Products Sdn Bhd Agency: Lowe & Partners ECD/ Copywriter: Chris How den Art Director: David Sin Agency Producer: Shahroom Ahmad Cinematographer: Danny Pope Film Director: Prasoon Pandy Producer/ 1st AD: Brian Francis Line Producer: Penny Woo w w w . y o u l h i m o k i n g p r e» f n I t o n . i n f o

DIRECTOR REPRESENTATION and PRODUCTION SUPPORT, No.210, Jalan Ampang, 50450 Kuala Lumpur Tel: 60 3 2166 6448 Fax: 60 3 2166 6468 www.passionpictures.com.my

is this your copy of ADOI?

For your own one year subscription (12 issues), send RM100 to Seldgehammer Communications (M) Sdn Bhd 22B, Jalan Tun Mohd Fuad Satu, Taman Tun Dr Ismail, 60000, Kuala Lumpur, Malaysia. Or email ham@pop.jaring.my

Rent-collector, singer, bouncer, account executive, matador, encyclopaedia salesman, pornographer, dub-owner, copywriter, art director, concert promoter, band manager, interior designer, cavity-wall-insulation salesman movie actor, layabout, television station-owner. He's only sorry about the account executive part. His excuse? When times are tough you'll do anything for money...

Pardon my

FRENC by Rodney Louis Vincent

MARKETINGCOMMUNICATIONS 27]

SpecialFeature

X 08m a if*Altai mi »fkestec «#mjMt to md** •ntarvawwe m harfe kmm, mm* *

<ntbn flw parts th*ether hern mch wataafc

One of Neil's more famous XO beer print ads. When he created and ran these ads, the beer did not exist. Neil used the ads to prove that a beer could be 'sold' in print

THERE'S absolutely no disputing the fact

the rest of the world wakes up when the east

offices in the world. Because I know all of them and they don't feel guilty about sending

that Neil French is a living advertising

is going to bed, so I tend not to get to the

legend the very few that don't need an

office till about midday. Because I know I'm

me stuff. But I do get stuff from places I

introduction. A true guru of advertising, he

going to be there until midnight. It's very

haven't heard of and they get just as much

is ranked among the best in the world and is

rare I leave before midnight, and frequently I

thought as everybody else. But now that I'm

often compared to such luminaries as the

don't need to leave until the discos are closed.

also working with DY&R, of course I also get

late David Ogilvy and the late Bill Bernbach.

stuff from that agency. So the amount of

Neil's legendary work has made him a role

So I don't really feel guilty spending most of the morning in bed.

model to thousands of creatives throughout

When I do get to the office, the first thing

work has increased by maybe 25% in the last couple of months, which is quite a lot.

the world. Today, whether he'll admit to it or

I do is download my email. And I have very

So that takes me past lunchtime and I

not, he sits on a gilded throne as worldwide

rarely less than 150 emails a day, of which

don't eat lunch. And than in the afternoon, I

creative director for two agency networks -

maybe 50 are instantly deletable. But the rest

either fly off somewhere, or talk to somebody

Ogilvy & Mather and DY&R.

usually need an answer of some sort.

on the phone about something I've seen in

A D O I was honoured to receive an

Sometimes it's a two-line answer and

the email. And in the end it's still much

affirmative reply to our request for some

sometimes it's a five-page answer. One of the

easier to talk on the phone and actually

valuable face-time with the ever-busy Neil.

best things is that I get a lot of work sent to

decide why you think it's wrong, and

And sure as each morning's sunrise, this

me from all over the world, so that's great.

negotiate your way to a better ad, rather than

writer was not about to pass up an

Luckily with broadband it doesn't take too

just play email ping pong, which is very slow.

opportunity as grand as this one...

long to download - commercials as well as

Europe comes on and they start sending

press ads. So I have a look at those, and

me stuff. Then America comes on and they

anybody who sends me work gets a nice long

start sending me stuff, and if I stay too long,

Describe a typical day in the life of Neil French? Right now, you mean? The life of

considerate answer, because I think that's the

Buenos Aires starts sending me stuff. So I try

point, isn't it? The sharp edge.

to go to bed before Buenos Aires starts.

Where does this work come from? The entire Ogilvy network?

How do you juggle your Ogilvy and DY&R responsibilities?

Neil French now as opposed to the life when I had a proper job? Yeah, well I usually get up late and the reason for that is I work really late. The problem with being worldwide cre

Generally speaking, the only people who

It's extremely difficult I have to say. To

ative director, and living in the east, is that

email me stuff are from the top 16 Ogilvy

be honest with you, there are meetings

28aDOI MARKETINGCOMMUNICATIONS

Special Feature where I sit straight faced, and start to talk about a campaign and find that I'm in the wrong office. You see these puzzled faces looking at you and you think 'Oh shit, hang on, this is DY&R and that's an Ogilvy campaign, terribly sorry' and you rewind and start again. It can be a bit embarrassing. I'm slowly getting the hang of it, but it's quite difficult. It's not really a juggling act, it's just trying to keep myself aware of where I am. In advertising, the people are more or less the same. They're interchangeable. This is very strange and I've only realised it since dealing with both agencies. But it's easy to get lost, because unless you look at the carpet and it's red, you don't really know that you're in Ogilvy. Do you still do ads these days or do you go around whipping your boys? No, though of course I do quite a lot of whipping cause I enjoy that sort of thing. I love it when somebody actually lets me do an ad. I just love that. They allowed me to do some stuff in Manila and that was great. The ability to do stuff is great, because in Ogilvy, in the last few months, I really just do whipping or paper shuffling. Only recently, it suddenly became good again. I've done about six campaigns in the last month. It's really fun. I suppose they are all the same, but that's alright because they're appearing in different parts of the world, so nobody will notice. Indonesia is the fourth largest populated country in the world. What do think about the ad industry here? I don't really know about the industry, to be honest with you. I've been working on and off in Jakarta for a long time. I was working with a bunch of the nicest people I've ever met, who I suppose I shouldn't mention the brand, a cigarette brand, with the funniest name for cigaretes. What the hell are they called? Djarum, Sampoerna? That sort of stuff. And absolutely great people, I did a few campaigns for them and I did great. I started doing that right before I was back in Ogilvy, and they were fun and I worked with them for a long time - I love them dearly. Some of them are the most genuine and generous people and they were fabulous. We have a very good head of office down here - Alan [Couldrey] is the funniest man I've ever met. He once walked into a conference, and he was slightly late, and the conference was kind of in progress when he walked in, and he wandered up to the front, and I thought this was the cleverest thing I've ever seen, because they got Mr Bean to come

in, and of course it wasn't, it was Alan Couldrey. He was a good creative manager, but actually I think even better at running the office. And we got Roy Wesley down there, a fabulous creative director, and Jed Donahue who is just a hoot. And I think the two of them work amazingly well.

"I think the lunatics have taken over the asylum, I think that's the biggest problem. I remember when D&AD was young, it was run by advertising creative people, for advertising creative people." What do you think of creative award shows these days? They're making lots of money... Isn't that the truth! I mean, I think that's the main problem, isn't it? I think the lunatics have taken over the asylum, I think that's the biggest problem. I remember when

D&AD was young, it was run by advertising creative people, for advertising creative people. That was all it was, and the point was to show your ads to other people and basicalÂ ly say 'I like your ad' and you'd say 'I like yours,' and if you didn't you wouldn't talk about it. You didn't have to slag it, just don't talk about it. And that was lovely, and then the Americans got a bit fed up some years ago about the fact that there were too many awards, and that's why they started 'The One Show'. The one show is supposed to be the only show you went in for. This would save everybody a lot of money and it was run as a non-profit organisation, and of course, everybody immediately made promises which eventually they broke. So it was The One Show plus all the others. And I think there are very few now that are trustworthy, in that they run for the right purpose as opposed to just making money. And it's no secret that I think Cannes is really awful. It's a great trade show, cause everybody you want to see is there. I go to Cannes to meet people that I might want to employ, and to shake hands with people that I think are great. And to keep an Ogilvy presence, and I suppose a DY&R presence there. But as for the rest of it, I think it's a travesty. I think we should really take it back from the businessman. Cannes makes about US$10 million a year that's mad. And we allow them to do it, so we deserve all the shit we get. The rumour mill is saying you might retire soon... When I started on a worldwide CD job for Ogilvy, I asked for a three-year contract, but

913 our contribution to roctb ÂŁftfett)t mat) toe point out tfjut brtnhcr* of our beer liiiU netier brink unb brttiet becitu^e after tfyrec uobo&l) etier remember^ Uifjcre djet) ^arhcb tlje car*

3D0I MARKETINGCOMMUNICATIONS29

Special Feature

NO PICTURES OF SMILING STEWARDESSES. NO PICTURES OF SMILING PASSENGERS. NO PICTURES OF GLASSES OF CHAMPAGNE, OR TRAYS GROANING WITH HAUTE CUISINE. JUST ONE SMALL LINE OF INFORMATION. WE THINK YOU'LL GET THE PICTURE. (Be careful with the Kaminomoto)

An ad for a hair tonic product, where regulations stipluated that they could not say 'hair tonic' or show the product packaging

they said, no you're going to have a five-year contract. I was going to retire in three years. I would like to sit in my new house in Spain and do nothing. On the other hand, it's very difficult to retire. If don't have to work 12 months a year, nine to five, or nine to nine in my particular case, yes I think I'd quite like to keep working. How do you handle the "suck-ups", or "boot lickers"? They don't very much... I wish they did! You do get a few people who try to get jobs. If they only knew however much I like them, it doesn't make any difference, I look at the work. So if I hate them and the work's great, I'd still try to get them a job. If I love them, and the work sucks, I'm not going to give them a job. I do define that area quiet easily. One of the good things about being fairly public about a retire ment and wanting to slow down, is that I get fewer people asking for jobs because they know I can't give them one. But I do get a lot of fun working with young people, because although they treat me with a certain amount of respect - it's a kind of respect that you give a kind of slightly mad uncle. They don't treat me too seriously. I know there are a thousand stories of what an absolute nightmare I am, but actually I'm a nightmare for 20 seconds after I explode. And when the dust clears, I'm back to being nice Uncle Neil again. And they all know this.

BoaDOI MARKETINGCOMMUNICATIONS

I just like young people. I find it much easier to deal with people in their 20s or 30s, than anybody else. Because all they have is ambition and enthusiasm, and that's such a turn on. Does your job ever frustrate you? Constantly, but I think all jobs frustrate everybody, don't they? Everything is frustrating, because you can't do everything you want to do. They say 'why don't you have your own agency, then you can do whatever...' No, I've been there, and that's even worse because your name is on the door and you still can't do what you wanted to do. It's a shitty job. It's much better to work for somebody else. Let them pay you, and then you can afford to be totally honest. That's why I gave up having my own agency when I was 30 and I never went back - never want ed to do another one. Forgive me for asking, but what's with the silly red shoes? I haven't got any red shoes. This is a total anomaly. The red shoes were originally Rod Pollen, who did wear red shoes when I first started 20 years ago, as a sort of homage to David Ogilvy, who wore red braces. That was Dave's thing. Pollen wore bright red shoes, and that was his trademark. And I thought they were great. Once I went to my boot maker in

Continental. The folks who fly the planes own the airline.

Neil blurs the distinction between headline and body copy

Thailand, and bought four pairs of boots, and he said what color you want them in, and I said black, brown, dark er brown, and... 'What's that?' I said pointing at a sample. He said it was bur gundy. So I said, it's very nice, make me a pair of those. And they came back look ing bright red. I never wore them like that, I took them straight home and tried to polish them using brown polish, but they're still pretty bright. I'm not going to throw away a perfectly good pair of boots, so occasionally I wear them and it raises 'Oh what's with the red boots?' I have to go home and put some more brown pol ish on them. I promise you this - it's not supposed to be a trademark. If you had to do it all over again, would you still be an ad man? No one's ever asked me that. Do I get a completely clean slate? Yes... Clean slate... fresh out of school... what would I do? Considering that it's what happens to you when you're growing old that makes you what you are, and assuming that absolutely the same things happened to me, I would definitely still be in adver tising, because that opportunity came along. But if that opportunity didn't come along, my second choice would have been either a singer or a bullfighter.

DBALL

aDO medioBonc W*iM On the NewlVC Debut - Deco2/Jano3 Brand: EON Title: Deepavali at PD

"ft.4®?

Duration: 30secs Client: EON

ADOI sat down for a quick chat with the busy Rile Dovey, managing director of ESPN STAR Sports, the Asia's leading sports broadcaster...

Agency: Fixgo Advertising (M) Sdn Bhd

•w

Creative Director : Allen Tan Art Director : Jeffrey Teh Copywriter: Puvendran Language: English Summary: With EON trail wagon you can have your open house every where you want it to be.

Brand: Perodua Title: Shakalaka Baby Duration: 40 sees Client: Perodua Agency: Grey Worldwide Creative Director : Jeff Orr Art Director: Andrew Fong Copywriter : Prem Vasudevan Language: Malay Summary: Share your happiness and joy by celebrating this

How has the last year been for ESPNStar? 2002 has been a year of continued growth for us at ESPN STAR Sports. On the distribution front, we signed our biggest agreement ever in China and now have coverage nationwide on CCTV, we acquired exclusive broadcast rights to the majority of international cricket and other key rugby, golf and tennis properties, we contin ue to be the exclusive broadcaster of the English Premier League in Asia, and we now have the most popular sports website in Asia with three dedicated websites serving sports fans online. This is just to name a few.

festive season regardless of who you are.

ESPN STAR is only six years old. How have you been able to get a strong foot hold in the region so quickly?

Brand: Petronas Title: Becha Man Duration: 140 sees Client: Petroliam Nasional Berhad Agency: Leo Burnet Advertising Executive Creative Director : Yasmin Ahmad, Tan Yew Leong Language: Malay Summary: During this/estive season, don't let you love ones celebrate the blissful moment alone. This is the time forgive

We understand sports broadcasting better than anyone in Asia, we have built a strong and committed multi-national team that leads in all our main markets, and we have partners who completely understand and support what we are doing - which is all based on putting success in place for the long term.

and forget.

What can viewers in Singapore expect from ESPN STAR in 2003? More 'exclusives'? Brand: Kurnia Insurance

Our primary goal has always been to cater to the viewing prefer ences of our audiences in Singapore - as well as every other coun try and territory we serve in Asia. Next year will be no exception. In fact, we are constantly reviewing our programming to ensure that we provide only the most relevant and watchable sporting events. Exclusivity is an important element of the acquisition process and has a bearing on our overall success. But so is providing a wide variety of sport, with strong production values, commentary and analyses as well as a world-class multi-media experience. These are, and have been the hallmarks of our success.

Title : The Singing Raya Duration: 30 sees Client: Kurnia Insurance (M) Sdn Bhd Agency: Platinum Advertising Sdn Bhd Creative Director: Jimmy Chin Art Director: Eric Chen Copywriter: Jimmy Chin Language: Malay Summary: Families should me together this festive season. Celebrate with joy and happiness.

Brand : Telekom Malaysia Corporate Title: "Family Gathering" Duration :40 and 60 sec Client: Telekom Malaysia Berhad

Expanding to China has boosted your viewership numbers. How does this change things?

Agency: Astana International Sdn Bhd Executive Creative Director : Shafri Mohamad Art Director: Daniel Khoo Copywriter: Julia Nicholson Language: Malay Summary: In time like this, you will have the chance to get together and appreciate your relatives and friends. Don't throw away this priceless opportunity to know each other.

Brand: Caltex

Ws Pendorona Anda Vy p

Title: Upeh Duration: 20 sec Client: Caltex Oil Malaysia Ltd Agency: McCann Erickson

It dramatically increases the size of our audience base in China and presents a first step towards delivering more sports programming into that market. We already are the widest pay TV distributor in China; this has taken us even further towards being one of the first foreign channels to have nationwide branded coverage. It also helps build the sports audience in China, who were starved for sport before we arrived on the scene a decade ago. Sport is now a real tele vision driver in the most populated country on the world.

Creative Director: Darry Tan Art Director: Darry Tan Copywriter: Gavin Hoh b Tun Khalidah Language: Malay Summary: Old memories are hard to die. In time like this, we will wind the memory wheel back to the past to remember what we have lost and gain along the way.

For more information please call Izza Ismail of MediaBanc at 03 7983 6668

32 aDOl MARKETINGCOMMUNICATIONS

Make your agency pr@ud Email ham@pop.jaring.my for details

Showcase

Sorry, dogs only

MKa O03 Training Classes. 4-6pm every Sunday. Padang Jalan Gasing. Pctaling Jaya. for enquiries call 03-7729 2027

Agency: Lowe & Partners Worldwide • Client: Malaysian Kennel Association • Art Director: David Sin • Copywriter: Chris Howden • Designer: Yee Wai Choong • Account Servoce: Alex Lee • Photographer: Hoch from Pashe Studio

aDOl MARKETINGCOMMUNICATIONS 33

Heineken at home inThailand by Alice Freeman

TBWA's

Smith Wins Media Crown At Media Magazine's Agency Awards 2002 held recently in Hong Kong, Keith Smith, Chairman of TBWA/Asia Pacific was named as Regional Agency Head of the Year. Smith started the regional network in 1996, and has since — increased the billings from zero to US$i billion, with 28 offices in 12 countries across Asia Pacific. Also at the awards, TBWA/Korea's SK Telecom campaign 'Be the Reds' was named

A softer side to beer advertising in Thailand

Most Creative. SI< Telecom was also named Marketer of the Year.

... produced by Leo Burnett encourage consumers to enjoy Heineken 'on premises' - in pubs, bars or restaurants. Filmed in a private residence, 'Manicure' featuring a couple watching television... HEINEKEN Thailand has released a Leo

'Manicure' featuring a couple watching tele

Burnett-produced TVC, 'Manicure', the sec

vision. A man is enjoying a Heineken; a lady

ond 'off premises' locally produced TVC devel

is polishing her nails. She grabs her own can

oped by the agency. 'Party' was the first.

of beer but her freshly polished nails prevent

Other Heineken spots produced by Leo

her from opening the can. The man looks up

Burnett encourage consumers to enjoy

at her with a loving glance, gives her a hug

Heineken 'on premises' - in pubs, bars or

and opens the beer for... himself. The tagline:

restaurants. Filmed in a private residence,

'It could only be Heineken'.

Bryan Singer Doing "fVCs

STRONG ASIAN showing at NY Fest New Media Show

Ogilvylnteractive SG Wins Silver Interactive agencies across Asia had their strongest showing ever at the New York Festivals' New Media Awards. The top performer from the region was Ogilvylnteractive Singapore, which won a Silver WorldMedal for its Volvo Museum web site (http://www.volvocarsasia.com/museum). Other

medal winners

were

Singapore's

Kinetic, which picked up a Bronze for the Picturefarm site (http://www.picturefarm.com.sg), and Japan's Hakuhodo, which won a Bronze in the Rich Media category for Sony Wega. "Asia's strong performance and the breadth of winners this year at the NY Festivals and other international competitions reveal the region's ability to nurture and attract the high est quality talent," said Graham Kelly, the chairman of the New Media Show. Kelly, who is also regional creative director

Bryan Singer (L) directing Hugh Jackman (R) in X2

of Ogilvylnteractive

Asia, said he was

BRYAN SINGER, the director of The Usual

impressed by the breadth of entries from Asia.

Suspects, X-Men and the recently com

Four agencies from Hong Kong won finalists

pleted X-Men 2, is currently available

certificates: Ogilvylnteractive, Tribal DDB,

to direct commercials through Saville

Euro RSCG and Lemon, in addition to finalists

Productions. The Sundance Festival Grand

Arachnid from Malaysia and CCG.XM from

Jury Prize winner has previously directed

Singapore. "I was glad to see Ogilvylnteractive

ad spots for Toyota, MTV and 7-Up. To see

Beijing as a finalist as well - this is a first for China." The New York Festivals' New Media

a show reel contact Johnnie Doran at jdoran@savilleproductions.com.

Bt+aDOI MARKETINGCOMMUNICATIONS

Bryan Singer at the 2001 MTV Movie Awards

awards were launched in 1992.

COMING

overall emotiona

by Michael Newman

Australian author Michael Newman has been an executive creative director for both Saatchi £r Saatchi and M&C Saatchi. His recent book, Creative Leaps, is published by John Wiley & Sons.

Strong emotion is no longer a "nice to have in successful business, but rather it's become the critical underpinning of a brand. If

This column is not on sale. There is no 10%

advertisers, to raise that pulse rate. A funda

Where's the global SE Asian high tech

off. No free fridge magnets for those who

mentally different mindset, when you think

brand? The global fashion label? There are so

read it early. There is no formula call-to-

about it, than selling a discount rate.

many global categories that would support

action at the end. Don't hurry.

Kenichi Ohmae, managing director of

Instead, I'm going to use this advertising space to make an emotional appeal:

Stop

being so rational!

management consultants McKinsey in

an Asian brand in its portfolio. You get the idea. The founder of the

Japan, agrees: "Keeping ahead with rational

Banyan Trees Resorts gets it too. He saidin an

product advantages is unsustainable in

interview a couple of months ago that he

It's time for the emotional rescue of

globally competitive companies. It is the

"used to be like many Asian businessman,"

brands. Too many local advertisers are

emotional value of brands that is endur-

chasing high turn over with low margins and

trying to be logical, when they should be

ingly attractive."

commoditised products.

trying to be likeable.

So it seems Japan's brands get this. Less so

His eyes widened when he realised the

Truth is, great advertising, the type that

the rest of Asia. Advertising in the region is

added value that well loved brands enjoy

transforms a company's fortunes, is about

trapped in the heartless badlands of retail

around the world. In his words: "I got out of

seduction; and it looks to me that the locals

hell. Not only is there product-parity in every

the rat race and into the brand race."

just aren't getting enough.

marketing sector in the Far East, there's

But canyou ring peoples' bells andring cash registers at the same time? Of course.

advertising-parity too. All property ads look the same. Banks and

That's a wonderful expression for what Singapore and Malaysia must do in the next few years if they are to flourish (read: if they

Singapore's IKEA ad did it; Malaysia's award

shopping centre ads seem to be competing in

winning Toyota ad did it.

some 'me-too' competition. And I can't talk

Jerry Yang, worldwide CEO of Yahoo! -

Nike didn't get rich by marketing the

about most telco ads without thinking of

the planet's most successful Internet portal

stitching used in their shoes, or the glues or

John Ralston Saul's phrase: "a dense cluster

- is another emotional man.

the strength of the rubber, did they? Nike

of mediocrity."

didn't do it with ads full of rational product features and cliched calls to action. Nike did it with big emotional whack. Spirit. Attitude. Likeability. The kind of "irrational" brand values that make a real

are to survive).

He said in a recent interview: "People

This is not what the public wants from

attach an emotion to our service. If we

brands. What people want from brands is

don't have that emotion, we're just like

passion, mystery, story, emotion... They

every other service... We don't get people to

don't want hard sell, they want heart sell.

come to our site by saying we have 10 mil

For such a brand-centric society, advertis

lion websites and our competitor has nine

emotional connection. And in return, Nike

ers here are well behind the rest of the mar

million. We're not going to get them by say

gets immediate sales response from loyal

keting world in using such tools. Yet it's too

ing our response time is one nanosecond

fans as soon as a new campaign hits. (And if

big an opportunity to miss.

an ad doesn't work? Said CEO Phil Knight, "We make another one.") Strong emotion is no longer a "nice to

The whole region is one, heaving brand-

faster than our competitors. We're going to get them based on an emotion."

scape. Why can't it also be a furnace raging

The real e-marketing revolution in the

with new brand ideas, bringing alive every

21st Century is e-motion. Lift the horizons

have" in successful business, but rather it's

aspect of the wide and wonderful Far Eastern

of local advertisers and get them free of

become the critical underpinning of a brand.

experience? Come on, guys, make your pas

the dreary and debilitating conformity of

To quote Kevin Roberts, a profit-making

sions your business.

most campaigns.

Pepsi client in Canada before he started pulling the strings at Saatchi & Saatchi worldwide, "Strong emotion is the living, beating heart (of a brand)." Which makes it our job, as marketers and

Where are the world famous global brands from the Far East?

Explain, passionately, that brand values give better value for money.

I can name one: Singapore Airlines;

After all, I was asked for 500 words and

a second might be Tiger Beer. After that,

I've given you 800. That's a 60% bonus at no

maybe Tiger Balm?

extra cost.

3D0IMARKETINGCOMMUNICATIONS35 -

InterActive

NEWS BRIEFS: WORLD • GREY PROMOTES EMERY AND GLENNON, HIRES BARNES

Ay* AiflHk L

L-R: Randal Glennon, Christine Barnes and Jane Emery

Grey Global Group has announced three new senior appointments to its advertising arm, Grey Worldwide, in Melbourne, Australia. Jane Emery who joined Grey in 1994 and became general manager in 1998, will move to the position of managing director, a position that has been vacant since Paul Gardner became group chairman in 1999. Randal Glennon will move from director of communications to the position of general manager. Randal joined Grey in 2001 after a ten-year career with The Campaign Palace. In addi tion, Grey has hired Christine Barnes, former manag ing director of Whybin TBWA to fill the new position of marketing director. • BBH WINS I PA EFFECTIVENESS GRAND PRIX 2002 Bartle Bogle Hegarty (London) has received the IPA Effectiveness Grand Prix for its campaign for Barnardo's, the UK's largest children's charity. BBH helped Barnardo's to transform its image through a re-launch. The IPA Effectiveness Awards is an awards scheme open to entries from all types of agencies, including media, direct marketing, outdoor, and sales promotion, as well as creative agencies. • EURORSCG MCM MILAN WINS EPICA D'OR 2002 The 2002 Epica d'Or has been won by EuroRSCG MCM Milan's "The Sculptor" for the Peugeot 206 car. "It takes place in a country where Peugeot does not exist - so you can only dream about it. While the 206 is a best-selling small car in Europe, our Indian character has to go to extreme lengths to get one," said creative directors Roberto Greco and Giovanni Porro. The Epica Awards are judged by the European advertising trade press comprised of 30 magazines from 24 countries. • BBC WORLD TO FEATURE FASHION SEASON BBC World has announced it will feature an array of documentaries and programmes covering the monthlong fashion season in February. Highlights include a profile of fashion house Chanel, Waiting For Gucci a documentary which follows The Royal College of Art students, and a profile of fashion's bad boy designer Andrew Groves. • 'WHISTLEBLOWERS' ARE TIME'S PERSON OF THE YEAR Three female whistleblowers were collectively named TIME magazine's "Person of the Year" for 2002. Cynthia Cooper (WorldCom), Coleen Rowley (the FBI), and Sherron Watkins (Enron) were chosen by TIME's managing editor Jim Kelly and profiled in the 23 December 2002 issue of the magazine. Last year's winner was former New York City mayor Rudy Giuliani. The first selection was Charles Lindbergh in 1927. In 1979, TIME choose the Ayatullah Khomeni. Around 5,000 people cancelled their subscriptions to the magazine in protest. In 1999 TIME named Albert Einstein "Person of the Century".

363001 MARKETINGCOMMUNICATIONS

The Great Leap Forward

h\r Josh Tnch Sklar, Slsh by Founder LogicWorks - josh@logicworks.us

The sooner we all understand what a truly great leap this new technology has allowed and will continue to allow, the more we will all benefit.

Imagine living in a relatively rural commu nity in the early 1920s. Your nearest neighbor is perhaps within walking distance, but the definitions of 'walking distance' back then and today are, literally, miles apart. As a housewife working during the day, you have the sound of your own humming and at night you talk with your family. You obtain your knowledge of significant events from the daily newspapers and a bit of localised gossip, but otherwise you are cut off from the worldat-large. Now imagine being handed a device that allows you to hear news and entertain ment from all over the world at the same time everyone else hears it. Suddenly you find yourself with a constant, reliable com panion while you grind away your youth making a nice home for your family and a gateway into an ever-expanding universe of common knowledge. Radio. A revolution that tore people away from their own thoughts and those carefully laid out in books to something much more pas sive. Something that not only hinted at, but also actually took a lead in creating the idea of a global community. How lives must have been suddenly and radically changed - people cast out, as it were, from the crushing silence into an exciting new liberating world of culture, humor and events. And then, during the gold en years of the newish art form, as FM enters the scene with the promise of unimagined clarity and fidelity, television supplants it all in one inspired stroke. And how? By adding a new dimension to the experience. And that is precisely why the Internet con tinues to pull people away from television albeit at a mercifully much slower and more manageable pace since the collapse of the dot.commies. The attrition of the hours spent staring at the tube that have been reallocated to pointing and clicking still boggles a lot of people in our professional community of

advertising. But it is clearly evolution that has precedent upon precedent. It simply adds another dimension (or two). It is liberating. It is freedom on so many levels (eg, to experi ence what/when you want, from censorship, to explore new ideas/points of views, etc). It allows a user to become a self-publisher - that is, to create content or to respond to others. It is the natural extension of what the radio allowed nearly a hundred years ago: access to a worldwide community that pulls the rug out from under isolation. The sooner we all understand what a truly great leap this new technology has allowed and will continue to allow, the more we will all benefit. The steadfast refusal to embrace advancement in deference to per sonal security in that which we are familiar (ie, the old media) is putting the power in the hands of those who can and will corrupt the idea of marketing (spammers) and only show ing audiences communications at its worst. You have an obligation on behalf of your com pany, your clients and to some extent, the end viewers of your work, to make the best of the vessels that are at your disposal. Go ahead. Take a chance. Do something inspired. Something intelligent. Something that does justice to the dimensional leap the World Wide Web has afforded you. But be prepared to let go because as sure as I'm sitting here typing on my computer, it's only a matter of time before the next great evolution dwarfs the potential of the Internet. And, that's a good thing. ©

A strategic/creative international advertising agency network is looking for the following high performers for its new inroads into Malaysia:

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NEWS BRIEFS: ASIA • CNBC RE-SIGNS WITH REUTERS CNBC Asia has signed a three-year regional contract with Reutersto supply 3000 Xtra terminals to CNBC's news bureaus throughout the region. These terminals provide CNBC instant access to Reuters news services from every editorial desktop. CNBC plans to incorporate Reuters' real-time data feed (RDF) into its stock ticker. Alexander Brown, president and CEO, CNBC Asia Pacific said the installation of the products in Hong Kong, Singapore and Tokyo newsrooms "enhances efforts in providing even more comprehensive and up-to-the-minute finan cial and live market information to viewers."

THE 2002 'SHUT-UP ABOUT

AWARDS' AWARDS.

Inspiration for some other awards as drawn from the neatly engraved statuettes of the world's ad press

• STARS OUT FOR MTV AWARDS Avril Lavigne, Missy Elliott, Atomic Kitten, Blue and Nick Carter will be performing at the MTV Awards at the Singapore Indoor Stadium on 24 January 2003, the music channel recently announced. Shaggy and Coco Lee will host the event that will be filmed before a live audience of 7,000 music and broadcast to over 150 mil lion homes across the region. MasterCard has signed as an official partner sponsor, joining Nokia, Panasonic and TOYOTA.

• CHUNG AND FUNG PROMOTED AT GREY Viveca Chan, chair man and CEO, Grey Dm Global Group China and Hong Kong, recendy announced that execu tive creative director for Southern China, Sam Chung, has been named executive creative director, China, while Hong Kong creative director Simon Fung has been promoted to executive creative director, Hong Kong. Both appointments were effective in early December 2002.

• Q1 SALES REVENUE UP SAYS CNBC CNBC Asia Pacific has announced in December 2002 that it achieved its first quarter 2003 target three months ahead of schedule. This represents a 50% growth in advertising sales bookings over the same period of 2002. CNBC Asia Pacific President and CEO Alexander Brown reported that in industries such as finance, market exchanges, luxury goods, tourism and airlines revenues were up by over 100% and bookings from technology clients also doubled over the same period in 2002.

• OGILVY AND Y&R TAKE STAKE IN LG AD Ogilvy and Young & Rubicam, two of the world's leading advertising agencies, have acquired a 36% stake in LG Ad, Korea's second largest advertising agency. Korea is Asia's third largest advertising market, worth US$5.6 billion per year. LG Ad had revenues of KRW 57.3 billion in 2001 and employs over 500 people. Its major clients include LG Electronics, LG Chemical, LG Telecom, LG Group, Korean Air, Daehan Investment & Trust and Nike.

• ICOM ELECTS ASIA/PACIFIC DIRECTORS International Communications Agency Network, Inc, has elected members from the Philippines and New Zealand to represent the Asia/Pacific region on the ICOM board. Willie Garcia, Adformatix, Manila, the out going president, has been elected regional director; David Walker, Walkers Advertising, Auckland, will serve as director-at-large representing Asia/Pacific.

38aD0I MARKETINGCOMMUNICATIONS

by Paul Loosley

As the year expires and once more falls limply to the ground, it appears that the industry and the press has become so con sumed with awards that they are giving them to anyone for anything. So come stroll with me into the arena of awards lunacy and let's see just how far we can take it. The Most Awarded for Awards Award. Wieden & Kennedy the most-awarded agency in the world in 2002 according to The Gunn Report as featured in AdAge and others. The Hairy Palms Award goes to the world's five most awarded TV spots; Reebok 'Sofa', Levi's 'Twist', Nike 'Play' and Fox for something else, also as totted up in the Gunn Report again. The Tree Murderer Award goes to the Gunn Report. The Month of the Revolving Doors Award goes to October AD0I, which tells us Soon leaves JWT. Edwin goes from Grey to JWT. Countless people from McCanns into the ether. Szu from Saatchi to McCanns. Hwa from BBDO to McCanns. Bavani leaves BBDO. Paul Regan arrives at BBDO. Wow, pengsan! The Typographical Error Award goes to Campaign Brief Asia for creative ranking. The Patronizing Fucks Award goes to The US Association of National Advertisers who honored Heineken, Pepsi-Cola Co, Sears, Roebuck & Co, General Electric Co and their ad agencies in the second annual Multicultural Excellence Awards in which ads featuring African Americans, Asians and Hispanic people are singled out for praise. As reported in AdWeek. The Most Idiotic Call for Entry Copy Award goes to AdWeek. I mean, just read it. "Feeling inspired? Encouraged? Innovative? Think your creative has what it takes to be among the best? Then you're ready to sub mit your spots to our panel of judges at Adweek's Best Spots. Follow these instruc-

tions on how to submit work for Best Spots of the Year and your work could make it to the 'Reel World'." Reel World! Oh God, I've been slimed. The I've Got a Real Whopper Award goes to Omnicom Group's BBDO Worldwide, which reclaimed AdAge's pole position as the year's top network. The Let's Show the World how Mean and Spiteful We Can Be Award. All the kids at Scamshome. Can anyone top the cruel, hurt ful and, for the most part, cowardly stuff people are capable of actually writing from behind an anonymous e-mail address? The Please be Gentle With Me Award goes to Saatchi London who was behind the most-awarded and most notorious print campaign of the year for Club 18-30 Holidays. Which only goes to show that there's nothing wrong with a good ad about shagging. The So Far up Yourself Only the Toes are Visible Award goes to the Caxton Conference on creativity as reported in B&T. The dele gates suggested there be restriction on ads for fast food given the increasing levels of child obesity. (The second prize goes to their suggestion that the fast food companies do ads to prevent kids over-eating.) Conceited prats. Do they think kids get fat because of their ads? Advertising ain't that good. If it were they wouldn't have to resort to giving away dopey gifts And a B&T report inspires The Real Future of Advertising Writ Large Award which goes to Goodman Fielder of Australia, and their Wonder White bread brand for producing a 7.35m by 5.85m billboard of Dame Edna Everage made entirely from 2989 slices of, wait for it, toast. © Happy New Year. PS. So what has 2002 ever done for us?

BEATING STRONGER EVERY YEAR

NEWS BRIEFS: MALAYSIA •

MAT HOFFMAN IN KL FOR ASIAN XGAMES Mat Hoffman, one of the world's best known professional BMX riders, will be in Kuala Lumpur as a

guest athlete at the Asian X Games V from 22 to 26 January 2003 at Suria KLCC, Kuala Lumpur, Malaysia. Hoffman has won ro world championship ...__ _ _ _ _ __...__. titles and holds the world record for highest 'air' on a BMX bike. He is credited with inventing over 100 tricks. The ESPN Junior X Games IV and the Asian X Games V are set to take place in KL for the second straight year and are presented by Toyota and hosted by the Ministry of Youth and Sports for Malaysia with sponsorship from Rakan Muda, adidas, Malaysia Airlines, Hot Link, Astro and HitzFM and NTV7.

•

BBC WORLD AUDIENCE UP 79% IN KL

A Pan Asia Cross Media Survey has reported that BBC World's monthly audience in Kuala Lumpur grew by 79% in 2002 year-on-year from 2oor. Overall, the monthly audience grew by 14% yearon-year to 993,000 - the fastest growth for any of the top ten international channels. The channel enjoyed growth of 41% in Bangkok , rflo in Hong Kong, and r6o/o in Taipei. BBC World also attracts a further 59o,ooo monthly viewers in Seoul and in India.

•

YAHOO! ENTERS MALAYSIAN ADVERTISING MARKET

Yahoo! has signed an exclusive reseller agreement with Kuala Lumpur-based online media agency, Yellow Brick Road Sdn Bhd, led by Rene E Menezes and Peter Yoong. Menezes was most recently interactive communications director at Grey Direct InterActive and Yoong was chief marketing officer of SeBAS, an eBusiness and CRM consultancy in Malaysia. Yahoo! Records 9 million page views every day ' from Internet surfers in Malaysia and has 78o,ooo active email account holders.

•

'INSULTING' BRAD PITT AD BANNED

In December, Malaysian government authorities banned TV and print ads for Toyota's Altis car featuring Brad Pitt claiming "it appeared as a humiliation against Asians." The ads ran in Malaysia for several months before the ban. Deputy Information Minister Zainuddin Maidin said that advertisers and agencies have a duty to use Asian faces.

4oa001 MARKETINGCOMMUNICATIONS

Julie Lingan and CD friends at h er Kinokuniya book signing

Email ham@pop.jaring.my for details

DAVID DROGA

Named Global CD of Publicis David Droga was appointed worldwide creative director of Publicis Worldwide, one of the three global advertising networks of the world's fourth-largest communications group. Droga, 34, was recently named the "World's Top Creative Director 2002" by AdAge. His agency, Saatchi Er Saatchi London, where he has been executive creative director, was named "Global Agency of the Year" at the Cannes International Advertising Festival 2002, and is the UK's Number r Ranked Agency for Income Earned by Campaign Magazine. According to Droga, "Saatchi Er Saatchi London has been the most rewarding three years of my career to date . That

gives me great confidence to become t h e worldwide creative director of Publicis Worldwide, a formidable network with a huge creative mandate." Maurice Levy, chairman and CEO of Publicis Worldwide, said "I want Publicis Worldwide to be the best creative network in the world. I have chosen the man who I believe is the best creative director today. Dave has the passion, the energy, and the talent to make Publicis Worldwide the best. He has an amazing track record of amazingly-relevant campaigns which win awards and market share." Droga was the regional creative director of Saatchi Er Saatchi Asia based in Singapore from 1996 to I999· tV

DISCOVERY CHANNEL Extends "Primetime"

Discovery Channel has stretched its daily prime-time schedule from 7PID to ram, the n etwork recently announced. The n ew sch edule took effect on r January 2003. "Discovery's decision to extend primetime programming content beyond the traditional day-part was based on detailed ratings analysis conducted in Hong Kong, Singapore and Taiwan, said Discover y Networks Asia VP of programming James Gibbons. "The data indicates that t he market for 'real-world' and factual programming actually increases as time progresses throughout the evening. This has been eviden ced by t h e dram at ic incr ea ses seen in aver age time-slot p er formance with in the introduction of programming like Extreme Discovery."

Discovery also announced highlights of the 2003line-up including James Cameron's Bismarck, the Assassination of King Tut, Hero Factor, "China Revealed" week, and documentaries produced in Asia as part of the Asian Masterpiece Showcase, Discovery Pitch and First Time Film-Makers. "Discovery Channel is one of the cable channels that i nvests substantially in research in order to understand the market we operate in better," said Gibbons. "After analysing our recent findings, we have made some changes to our offering for 2003 to provide more of what our audience wants, and we expect that these steps will h elp us incr ease our viewership and maint a in our position as the most watched channel here in Asia." ti)

iwimp, sW||Mp>wiwÂŤiii III l^llll IIIIIIW

Over 30,000 readers and one well-known author on Advertising

Award Winner

BBDO Tops Ooh LongXi 2002 Gold winner for Use of Conventional Space-Single-Poste Client: Red Cross • Title: Hands • Agency: J. Walter Thompson, Shanghai

Gold winner for Use of Conventional Space-Single-Poste Client: Star Cruise • Title: Sea for Sale * Agency: Leo Burnett, Taiwan

Gold winner for Use of Conventional Space-Single-Transit and Best Art Direction (Craft) Client: Slimming &r Detoxifying Pill • Title: Mini-bus • Agency: Leo Burnett, Hong Kong

Gold winner for Use of Conventional Space-Single-Poste Client: Star Cruise • Title: Sea for Sale • Agency: Leo Burnett, Taiwan

"Not all

categories have a Gold. The Golds are really the cream of the crop" - Lo IT'S a Grand Prix for BBDO Hong Kong and ING Life's 'Relative' at the world's first Chinese outdoor advertising awards. Lo Sheung Yan chaired the judging of OOH LongXi 2002 in which a panel reviewed 283 pieces of work from five countries. "We saw some really outstanding examples from different countries," said Lo. "Not all categories have a Gold. The Golds are really the cream of the crop." "With the short exposure, busy environ ment, and production constraints, outdoor media requires a special kind of creativity to create stopping power," said Tomaz Mok, one of the four LongXi founders. Besides chairman Lo from J Walter Thom son, Northeast Asia, the other judges consisted of Iris Lo from Bates, Hong Kong; Kitty Lun from Arnold, Shanghai; Michael Dee from J Walter Thompson, Taiwan, Paul Chan from Chan Tsang Wong Chu & Mee Advertising, Hong Kong; Peter Soh from Saatchi £r Saatchi, Shanghai; Scott Kao formerly of FCB, Beijing; Tan Khiang from M&C Saatchi, Hong Kong; and Zhang Xiao Ping from Black Horse, Guangzhou.

!42aD0l MARKETINGCOMMUNICATIONS

WINNING AGENCY DRnn MI/ DD UU, nl\

Leo Burnett, HK J. Walter Thompson, Shanghai Leo Burnett, Taiwan 10AM, Singapore J. Walter Thompson, Taiwan D'Arcy, Shanghai J. Walter Thompson, Singapore Euro, HK Bates, HK TBWA, HK DDB, HK Lowe, Taiwan Saatchi & Saatchi, Beijing Ogilvy & Mather, Malaysia M&C Saatchi, Shanghai BBDO, Taiwan J. Waiter Thompson, HK Funtastic, Taiwan McCann-Erickson, Beijing Ogilvy & Mather, Beijing Ogilvy & Mather, Guangzhou Bates, Malaysia TOTAL :

GRAND 1

Gold winner for Use of Non-Conventional Space-Campaign and Long Xi Grand Prix winner Client: ING Life • Title: Relative • Agency: BBDO, Hong Kong

GOLD 1 3 1 1

SILVER

BRONZE

FINALIST 1

2 3

2 1 1

1 1 1 1 1

2 5 2 2 1

12 7 7 5 3 2

7 3

3 2 1 1 1 1 -

3 2 2 2 2 1

1 1 1

1 35

1 73

TOTAL

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