The other day, I was listening to a popular marketing podcast.  This was a post super bowl episode, and the topic was the commercials. Guests on the show included various brand managers and agency folk. They were talking about a common theme of their work which they all agreed was the big driver of their success.  

They waxed on in glorious terms about their achievements in large part due to this major insight. It was if they were the first to discover electricity or the Beatles or something…. I turned up the volume. 

The driver of their work, the holy grail, the golden nugget, the secret sauce…”it’s all about the customer.” 

That’s it. The customer. They managed to fill over 40 minutes of airtime talking about why it is essential to keep the customer first in all they do and how it affects the strategy and the work and the success of their work. 

Maybe these folks were raised by robots. The notion that the audience is central to their success seemed a revelation. Hello? These were all articulate people but to me they missed an opportunity to have a more nuanced and valuable discussion about their audience insight and not limit themselves to the cleverness of the work. 

Audience, Brand, Creative – the ABC’s of advertising. 

As one of the last truly large-scale communal cultural events, super bowls ads are no longer simply about advertising, they are part of the show, the cultural moment, let’s go all-in and call it a high point. But the real game is away from the ball. The real game of advertising is being won and lost in the trenches, day-in and day-out. It’s the integrated campaigns that have the legs to live in the media, where the customer lives every day that will be the real winners. The Super bowl happens once a year, the super segmented social super bowl (say that 10 times fast) happens 24/7, 365. There is no getting around it. Targeted media to your Audience, the Brand relevance, and the Creativity to make it stick. 

After reading the rankings from Forbes, NY Times, Boston Globe, iSpot TV, USA Today’s Ad Meter and others, it’s clear that if you are in need of support to justify your personal top 5- 10 spots you are bound to find it. Only a couple of the rankings mentioned consideration of the game away from the ball; the knock-on effect of the social impact of a strategically integrated idea, an idea with its hooks in culture. The more thoughtfully integrated ideas have potential for real shelf life, the rest are at risk of just being part of game day entertainment.

Perhaps being entertaining is enough, but to quote a famous film about football, Show me the money. 

Observational tension is a tool of the storyteller, more often felt than discussed. Its subtle power renders a disquieting tone that invites audience emotion to enter the scene. The tension of a shot that lingers on a subject after the dialogue or apparent action has ended can deliver extraordinary poignancy. It does not work in this way automatically, it requires the right moment in a story, perhaps during an emotional dialogue, or monologue or action during which a character is wrapped in a physical experience.

Observation is part of the idea at work. It can be the observation of the character, akin to documentary, where the camera is objective to the scene, a bit removed from the action. But observational tension can also exist in the subjective as we are inside the scene and with the characters, we can then relate to their objective observation within the story. We are with them.

Experienced directors and cinematographers, actors and editors will look for and create moments to put the tension of observation to work in service of the story. Being attuned to these moments in the creation of a script, filming a scene, a documentary as it unfolds, and in the edit is an essential skill.

These moments of tension, of observation, can be as simple as the slow unfolding of ripples from a pebble dropped into a still pond, the uncomfortable silence between two characters, an expansive view of a prairie, or the lingering, insecure glance of a lover. Allowing a few extra beats on these types moments accentuate the tension of the observation.

The internal tension of these scenes is enhanced, by the intention of what comes before, as well as what comes after. It is the juxtaposition of image and emotion, scene-to-scene, shot-to-shot, beat-to-beat that gives the observational moment the additional tension that amplifies its emotive power. It moves the story along.

A subjective view of a brash, young driver inside a speeding car racing and swerving through crowded streets. Followed by a scene of an old man, walking very slowly across the road, approaching a step up a curb, the camera stays fixed on the old man as the car flashes by obscuring our view of the old man, only to have him emerge once again unscathed. The camera lingering on him for a few extra beats as he wobbles a bit, amplifying the frailty of our existence. The car roars off into the distance.

Observational tension or the tension of observation, no matter how you look at it, it’s a perspective worthy of attention. 

A friend of Henri Cartier Bresson once said to him, “you do not work, you take a hard pleasure.”

While I often feel I’m working very hard and certainly too long, I must admit I take a pleasure in the work. At its best, it’s inspiring to stare down the proverbial blank sheet of paper.

The work of crafting a simple, expansive idea that holds the power of attention and provokes the desired emotion is where it’s at.

A simple idea can be expressed in many forms and therein lies the charm. This is the hard pleasure, seeing the elegant idea.

As a photographer Bresson was credited with the idea of the decisive moment. He did not come up with these words, but he certainly delivered it with his eye and his camera. He could see and anticipate the decisive moment to press the shutter. To capture the emotion and energy of a moment.

I’m charmed by this. Working, searching out the ideas, seeing them come to form. When I’m lucky, I can admit to anticipating the outcome of my efforts, the moment when I click the shutter in the mind and the idea snaps into view.

Bresson would go deeply into his chosen subject, immerse himself completely for weeks, months, years. It is this devotion that allows the decisive moment to be understood. It is the same behind the cameras as it is behind a blank sheet of paper. Total commitment to the subject allows the ideas to surface, to be seen. It is not usually a happy accident. Ideas are a byproduct of the effort of immersion. Of a selfless giving over to the subject.

Whether I have a camera at the ready, a script in hand or a blank sheet of paper, it is a devotion to the subject that renders the outcome. The ideas, the images, flow from a river of details large and small, from vague associations, references, past experiences, seemingly unrelated events, the song of a bird, a passing road sign, overheard conversations, the sound of the subway, a cold shower, a book well read, or a film watched yet again.

Images… ideas emerge. Devotion, immersion, life.

As some of you may be aware, I’m currently teaching at Skidmore College as the F. William Harder Chair Professor of Management and Business. Being a place of higher education and a fine one at that, there are weekly guest lectures given by thought leaders from both inside and outside academia.

For the most part, these are highly intellectual and interesting discussions. I prefer to think of them as discussions because the Q&A that follow is often more interesting than the lecture itself. Students and faculty engage the speaker with challenging questions. The freewheeling endings, if Skidmore students are a barometer, gives me hope for the future of our country.

A recent discussion led by an extremely well-studied thought leader, presented years of data that pointed to a significant insight in the world of business. I’m not going to try to unpack the topic, my point of writing this post is the use of data.

The data was significant and overwhelmingly clear in what it implied and what could be inferred.

During the Q&A a student asked the million-dollar question. If the data is so clear why is nothing changing…why are the trend lines continuing as they were?

The speakers answer: The data is not enough.

Bingo.

The world has become overly reliant on data as an end point. Data alone is not enough. If it was, no one would ever smoke, Hillary Clinton may have gotten elected and maybe (if this applies to you) more people would buy your brand.

Compelling ideas move people. Ideas that slap folks in the face, stun them into awareness and seep into their hearts, turn ideas into action.

This is the work of creativity. Let’s get busy.

To the untrained observer, walking a tightrope seems like a high-risk activity. To the well-trained acrobatic artist, the tightrope is a platform for their creativity. The risks are well-calculated and the practice so refined, that confidence brings buoyancy to their work.

In the world of ideas, clients and agencies must come to a mutual understanding of well-calculated risk. The goal is break-through creative that challenges norms, animates the brand and motivates the audience.

For many clients, there’s also an additional objective; “not to do any worse than the past brand manager or campaign.” There’s nothing wrong with a good dose of self-preservation.

To the unprepared client, work that appears as if on a tightrope is going to incite fear of doing worse. To the agency, it’s the platform from which to demonstrate their hard-won skills and highly developed talents.

It takes a trusting client-agency relationship to explore boundaries and push the limits of creativity. The goal is to see the tightrope not as a high-risk activity, but as a well-calculated and desirable achievement that will deliver growth for their brand.

Confidence is the glue that binds us to big ideas.