奥美广告_大创意(1)

1、奥美广告公司1989年春季训练教材BIG IDEA大创意Prepared by： Richard Fowler Worldwide Creative Director- Unilever Ogilvy &Mather， LondonDate ： April， 1989 Just over a month ago I spent a week in Australia.During that visit Iwas asked to conduct a three-hourCreative Seminar with the senior managers of all Unileverco

2、mpanies. Knowing that I was due to give a particularquestion in mind . The question was this: do the seniormanagers of Unilever companies (and I include theiragencies in this ) agree on what a big idea is? And can we articulate the difference -if any - between anadvertising property and an advertisi

3、ng idea?几个月以前我在澳洲停留了一个礼拜。在那个礼拜中，他们要求我为所有Unilever旗下公司的资深经理人员举行三个小时的创意讲习会。因为我在一个月以前就知道要演讲，因此我以自己心中一个特别的问题做为着厂讲习会的架构。这个问题是：Unilever旗下公司的资深经理人员（也包括他们的广告代理商）是否对什么是大创意有所共识？而我们是否能清楚分辨广告资产及一个广告创意之间的差异 ？如果有差异的话。During that seminar I showed many campaignso Persil（going back as far as 1963）,Dove Soap U.S. (goi

4、ng backten years),Marlboro TV (going back 18 years), Hamletcigars U.K. (going back 20 years),Surf U.S.(going back 5 years), Brooke Bond P.G. Tips “Chimps” (going back 30years), and a number of others.在那场讲习中,我给他们看了许多系列广告活动：Persil（追溯到1963年），美国Dove香皂（追溯到10年前），万宝路电视广告（追溯到18年前），英国哈姆雷特雪茄（追溯到20年前），美国Surf洗衣

5、粉（追溯到30年前），还有许多其他的系列广告活动。Each time showed a campaign， I asked the members of the seminar to write down - so that we could discuss it later- what each defined as the “Big Idea” in the advertising，and the “advertising property”。每次我给他们看过一个，为了方便稍后的讨论，我要求在场的每一位人士写下来广告中的“大创意”是什么，“广告资产”是什么。I have to tell y

6、ou, there was very little agreement about which was which when we came to discuss the campaigns.Moreover, there was considerable disagreement, campaignby campaign, about what the big idea was in each campaignand in many cases even what the property was.我必须告诉你们，当我们在讨论这些campaigns时，对于究竟何为“大创意”，何为“广告资产”

7、这些问题很少达成协议，尤有甚者，关于每个campaign中其大创意为何-在许多个案中，甚至连其广告资产为何-都有不少的歧见。The point of telling you this and conducting thatseminar the way I did was not to “catch someone out”,us to help you do here today.我之所以告诉大家这点，以及以这种方式来举行讲习会的原因，并不是为了要“逮住人们的错误”，而是要突显今天我们所要帮助各位了解的大创意其重要性。The declared aim of this conference i

8、s stated thus, Iparaphrase:我将那次会议的目的摘录于下：“With the increased emphasis being given to the importance of creating and maintaining long -termbrand properties, it is felt right to ( have thisconference).formed around the concept of Creatingthe Big Idea , the purpose being to demonstrate that long-lived

9、properties of the sort we are seekingusually have within them a big idea and thatUnilever needs more.” “由于有愈来愈多的人强调创作并维持长期品牌资产的重要性，我们认为应当. . .（举行这项会议）. . .其主题环绕着创作大创意的概念，其目的为示范我们所寻求的长期资产中所包含的大创意以及示范出Unilever所更为需要的特质”。The request you mad to us - your agencies , and in thiscase specifically to Ogilvy

10、& Mather - was”. . .not onlyto bring examples of big ideas but also to cover suchareas as how to brief agencies to create big ideas, howto recognise them, and how to develop and sustain themboth internationally and over time.”Unilever 对我们的要求包括其广告代理商，在今天 这种情形特别是对奥美“不只是给大家看看大创意的范例，并且还要涉及在国际性及长期性方面

11、，如何向广告代理商做简报以便产生大创意，如何辨识大创意，以及如何发展并维持大创意等范围。”We will, over the next 60 minutes, address this subjectfrom a point-of-view that we think is virtuallyguaranteed to help Unilever companies improve their success rate in obtaining “Big Idea”.在接下来的60分钟内，我们要简述这项主题从我们认为对Unilever 公司改善其获得“大创意”的成功率有实际保证的观点来讲。We

12、re going to start by asking you to examine the termsof your request: “How to brief agencies to create big ideas, how to recognise big ideas, etc.”我们要从检视Unilever 这项要求中的文字做开始： “如何对广告代理商做简报以便产生大创意，如何辨识大创意. . .等等。”Inherent in that is the assuption that big ideas comeinto this world as “big”-and we submi

13、t that that is avery dangerous assumption. We submit that “Big Ideas”come into this world merely as ideas - with the potentailto be big. Someone - you， your agency - then has to seethat it becomes a Big Idea.在这项要求中具有一项假设大创意在产出时就很“大”我们必须提出，这是一项很危险的假设。事实上，“大创意”在生出来的时候都只是“创意”而已然而却具有成为大创意的潜力。然后有一些人客户，代理

14、商必须在旁小心看护，使其长成一个大创意。For the next part of this presentation, we will show youa number of campaigns - capaigns acknowledged byeveryone as great campaigns. What we will illustrate toyou is not that these campaigns started out that way -rather that they were all ideas made big only by the manner in whic

15、h they were developd, executed andsustained over time. For it is our contention that thereare no big ideas initially - there are only ideas - madebig by strong-minded, disciplined and adventurous clientsworking with strong-minded, disciplined and highlycreative people.这场演讲接下来的部分，我们要给大家看一些campaigns-众

16、人公认的伟大campaigns。我们要为大家描述的并不是这些campaigns 的着手方式而是它们仅靠参与者发展，执行及长期持续的态度而变大。我们主张没有任何创意一开始就是大创意一开始都只是创意而已，经由具强烈心态，有纪律，不畏冒险的客户以及具强烈心态，有纪律，具高度创意能力的人加以哺育，才会变大。It is our contention that what we must learn to recogniseis the core idea. If this core idea has the potential to bea big idea, it will become so only

17、 after a number of advertisements have been done that bring that core ideato life.我们认为我们必须学习如何辨认核心创意。如果核心创意有潜力成为大创意，只有在做了许多广告赋予核心创意生命之后，才会实现。Further, we hope to show you that an advertising propertywhilst highly desirable and eagerly to be pursued is nosubstitute on its own for a great campaign cons

18、istentlyand relentlessly kept relevant and alive.更进一步地说， 我们希望让大家知道，一个人人渴望并且急切追求的广告资产，并不能取代持续一贯，毫不放松地保持相关性及活跃力的伟大campaign。Incidentally, every campaign we will show you is totallyconsistent with, and could easily have been developedwithin, the excellent guidelines outlined in the newU . P . G . A.不过顺带

19、一提，我要给大家看的每个campaign都完全符合由Unilever伟大广告计划（U . P . G . A . ）所勾勒出的杰出指引，同时如果根据这些指引作业，都可以轻易地发展出来。I will start us off with a campaign that has been running extraordinarily successfully for 20 years in England. (SHOW ONE HAMLET: COLUMBUS)我要以一个在英国极为成功地进行了20年的campaign做为开始。（哈姆雷特雪茄：哥伦布篇）When this campaign was

20、first sold, the central idea musthave been this: that in the face of lifes little ups anddowns ,Hamlet cigars have unique restorative and relaxingqualities.当这个campaign 最初卖给客户的时候，其中心创意必定是这样：面对生命中的起伏，哈姆雷特雪茄具有独特的令人恢复及放松的特质。The property will be a musical there occuring in the commercial always at the mo

21、ment when Hamlet comes to the rescue.其资产为在广告中总是在哈姆雷特雪茄前来搭救之时所出现的主题音乐。Now had someone said that to you 20 years ago - would you have said - “Eureka! The big idea”. I doubt it.现在假设在20年前对你这样建议，你是否会说：“我找到了！这就是大创意！” 我怀疑。But 20 years laater, after that little idea has beennurtured, persistently and consta

22、ntly kept fresh - itsanother story.（SHOW: PHOTOBOOTH / INCONVENIENCE / TOUPEE)但在20 年后，当年的那个小创意经过哺育，持续一贯地保持新鲜，已不可同日而语。（照相亭篇/不方便篇/假发篇）Before I show you the next campaign, let me talk about“our” (yours and our) inability to articulate or identifywhat we jointly mean by “an idea” or an “advertisingprope

23、rty.”在给大家看下一个campaign之前，我要谈谈“我们” （各位及我门） 所缺乏的能力 分辨或确认“创意”或是“广告资产”的意义之能力。I have just returnde from Southeast Aasia. Among otherthings I ran a session in Malaysia with Unilever BrandManagers and agency along the same lines as we did in Australia - with much the same resuult - the same problemin distin

24、guishing between “an idea” and “a property.”我刚刚从东南亚回来。除了其他的公务以外，我在马来西亚为Unilever的品牌经理以及代理商举行了一个讲习会，其主题跟我们在澳洲所讲的一样，而结果也几乎一样 同样有辨识“创意” 及“资产”之区别的问题。I also, along with Ron Latham, sat on a panel at a Unilever Marketing Course where the participantspresented examples of “good” and “bad” advertising.As a p

25、art of their presentation, they were to identify “theidea.” In many cases they said the “idea” was to sell TVsets or shampoo or whatever.我跟Ron Latham一起评审在Unilever行销课程中，参加人员所提的“好”与“坏”广告的范例。在他们的提案中有一部分是要确认出广告中的“创意”。在许多个案中，提案者认为广告的“创意”是要卖电视机，洗发精或什么的。In the Malaysian session it took a good ten or twenty

26、minutes of discussion to get to the core of the Timoteicampaign. But, as we said earlier, the exercise is notor was not intended to point fingers or catch anyone out.在这场马来西亚的讲习会中，我们花了10 - 20 分钟讨论，并且探讨到蒂慕蝶camoaign的核心。但是，如同前面所说，这项练习并不是为了要指责或逮住某人的错误。But I think there are important implications:但我认为其中有几

27、项重要的意义：1. If the underlying nature of the idea is not understood, then it is easy for countries in which you or we wish to use the campaign in to dismiss it as inappropriate. Or, to misinterpret the idea and have it fail. 如果创意的基本性质不被了解，那么各位或我们原本想要在某些国家采用的campaign， 就会被以不合适为理由而放弃。或者是误解创意的本质而导致失败。2. If

28、 the agency and the client do not understand or agree on what the fundamental idea is, then the ability to refresh the campaign may be diminished and lead to disagreement.如果代理商及客户对何为基本创意并不了解或是不能达成共识，那么讲 campaign 保持新鲜的能力可能就会遭到贬抑，并导致歧见。3. Some guidelines are too much execution based, and do not go dee

29、ply enough into why, I . E. , the core idea.某些指导原则太过于以执行为主，对于理由何在亦即核心创意 并不够深入。4. A more general point: as there appears to be a fair amount of confusion about the difference between ideas and properties, perhaps more formal Unilever advertising courses should have practical sessions where those diff

30、erences (ideas and properties) are examined in detail.总括来讲：由于大家对创意及资产之间的差异似乎有很大的困惑，也许在 Unilever 较正式的广告课程中应该包含实务方面的讲习会，详细地检视那些差异（创意及资产）。But I digress.但我离题了。The campaign Im going to show you is also from the U . K . ,but it is a very new one. So you decide. Had you been approached by your agency and t

31、old the following - wouldyou have screamed “Eureka - a big idea!”我要给大家看的这个 campaign 也是英国的，但却是很新的campaign。所以你要下判断。如果你的代理商以这种方式表达并告诉你下列的创意想法 你会不会大叫：“我找到了！这是一个大创意！”The product is a coffee called “Red Mountain.”这个产品是一种叫“红山”的咖啡。The agency said something like this: The idea is, thatby parodying the audio

32、language of real audio language of real coffee making in a tongue - in - cheek way, the brand is moved closer to the ultimate coffee taste.代理商是这么说的：其创意为 以一种不当真的方式模仿真正煮咖啡的声音，籍此让人们觉得此一品牌拥有接近纯正的咖啡口味。The property is the way in which the sounds of coffee-making is produced.其资产为制造煮咖啡声音的方法。Big Idea ? Lets

33、see.(SHOW 3 RED MOUNTAIN SPOTS)大创意？ 让我们看看。（三支 “红山”广告片）Time will tell whether this is a truly big idea. But it looks to us as if it has all the ingredients of being anidea that, given property development creatively, couldbe built into a big one.时间将会证实这是否为一个真正的大创意。但是它看起来似乎具有创意的所有组成因素如果能将此资产继续别具创意地发展它

34、极有可能成为一个大创意。Each commercial is, in its own right, interesting - notjust a cookie-cutter of the last.上述每支广告片都有其独特的趣味 并非如出一辙。Let me show you two campaigns. Two campaigns that havebuilt two massive brands.（SHOW 3 PERSIL： MOTOR BIKE / BEDTIME STORY/FAVOURITE SHIRT）我现在要给大家看两个 campaigns .这两个 campaign 建立了两

35、个重大品牌。（三支 Persilo 广告片：摩托车篇 / 上床时间故事篇 / 最喜爱的 衬衫篇）Now please show Oxo.（SHOW 3 NEW OXO KATIES）现在看看 Oxo。（三支新的Oxo 凯蒂主妇广告片）Those two campaigns are, Ibelieve, great campaigns thatcan only be described as Big Ideas.我相信那个 campaigns 是伟大的 campaigns ，只能用大创意来形容。But what are they ?但它们究竟是什么？In shorthand the aPersi

36、l idea is : that use of Persil -with its superior whitening - is evidence of a morecaring Mum (Mother). The properties: a son, a mum, and whiteness.简单地说，Persil 的创意是： 使用Persil， 其优越的洁白效果，可以证明妈妈有更多的关怀，其资产为： 儿子，妈妈以及洁白效果。Would you have bought that as a big idea?你是否会觉得这是一个大创意而把它买下来？And the OXO campaign?Ox

37、o 的 campaign 呢？It is about the fundamental strength and relevance of the family embodied in a mother called Katie. The property:Katie,unwrapping the cube, the family and the tone of voice.它是以一个叫凯蒂的家庭主妇具体表现出家庭的基本力量及相关性.其资产为：凯蒂，打开产品包装的动作，家庭以及语调。When first presented was that a big idea ?当这个创意在最初提出的时候，是

38、否就是一个大创意呢？If ever there was proof that all Big Ideas start out assimply ideas and become Big because of the way they are nurtured and kept contemporary and relevant (commercial by commercial) - these campaigns prove it.如果有证据可以证明大创意在出生的时候都仅仅是创意而已，由于哺育的方式以及保持现代感跟相关性 （一支广告片接着一支广告片持续下去）才会变大那么这些 campaign

39、s 就是最佳证明。Let me show you one of the campaigns that causedconsiderable confusion in Malaysia.(SHOW I HEINEKEN: POLICEMENS FEET)我要给大家看看在马来西亚引起极大困惑的一个 campaign 。（海尼根 ： 警察的脚 ）That was the first commercial to run in this highlysuccessful campaign. I would hypothesize that havingdecided upon refreshment a

40、s the basic strategy, the agency was faced with a “me-to problem” that was acategory norm .那是在一个极为成功的 campaign 中第一支上档的广告片，我猜由于代理商决定要以清凉作为基本策略，因此他们面临了一个“雷同问题”而那是存在于该产品类别之中的问题。The core idea: By the use of visual hyperbole andsardonic humor assert that Heineken can revive parts ofthe body (and anything

41、 else ) because of its amazingrefreshing properties.核心创意为：运用视觉夸张法以及讽刺性的幽默来说明，由于其惊人的清凉资产，因此海尼根能使身体的各部位复苏。Lets see two more :(SHOW HEINEKEN: SLAVE SHIP / SITTING DUCKS)让我们再看两支：（海尼根： 奴隶船篇 / 鸭子篇）I will show one more and then we will summarise and drawconclusions.我要再给大家看一个 campaign ， 然后我会做个总结。The next fo

42、ur commercials are for Duracell. Maybe 15years ago Duracell advertised their battery like this:(SHOW ONE : PINK RABBIT)接下来是四支金鼎电池的广告片。可能是在15年前，金鼎是以这种方式为其电池产品作广告：（粉红兔篇）The idea: Use battery operated toys to visually demonstrate the longer life propertise of Duracell batterise compared to competition

43、.创意： 运用电池使玩具运转，以便在电视上示范金鼎电池比竞争 对手有寿命较长的资产。The property: the “slam” device at the end .资产： 片尾砰然合起的电池。Big Idea? Maybe . But it was dropped in favour of 4 or 6or 8 other campaigns that then ran. Sales declined .大创意？ 也许是。但这个创意在后来进行的其他4 -8个campaigns 之中就被舍弃了。因此销售量锐减。When Ogilvy in New York were appointed,

44、 we went back tothat idea and have stayed with it ever since .(SHOW 3: AIRPLANES / CHARIOTS / BIRDS KODAK)当纽约奥美接到这个客户时，我们回溯到原来的创意，并持续其做法。（飞机篇/马车篇/鸟篇 柯达）Duracell is again No. 1. This campaign is on its way to becoming something you could describe as having - orbeing - a Big Idea .金鼎电池再度坐上第一名的宝座。这个 ca

45、mpaign 正逐渐发展成为我们所谓的大创意。Before I summarise we thought it might be useful to offeryou a few practical suggestions that may help “generate,develop and nurture big ideas.”在我做总结之前，我们认为提供各位一些有助于“发想，发展，养育大创意”的实际建议可能非常有用。Agency Briefings代理商简报We think that the agency briefing formats you use are generally ve

46、ry good . The UPGA section on briefing isextremely clear . BUT . . .我们认为各位所用的代理商简报格式大致上而言非常好。UPGA中说明简报的部分也极为清楚。 但是 . . . The fact is that these formats are seldom used.Particularly outside the U . K .事实上各位很少使用这些表格。特别是在英国以外的地区。Anything you and your colleagues can do to enforce yourown rules could mak

47、e a significant difference to thestandard of briefing and thus the final advertising .各位为了实行规则所做的努力都能使简报的水准和最终的广告产生很大的不同。On the same subject : briefing, we believe there is astrong case for an addition to the document relating to brand personality .关于简报，我们认为有关品牌个性的资料中非常需要加入另一项重点。In the current brief

48、ing outline a lot of attention ispaid to positioning and product performance but verylittle to who the brand is .在现有的简报纲要中，大部分的注意力都放在定位及产品功能方面，却很少注意到产品是谁。Most of the “big ideas” we all admire imbue the brandwith an indelible character . If we are unable to definewhat that is, it probably points up a

49、 deficiency in the brands advertising . 大部分我们所赞赏的“大创意”都是以不可磨灭的鲜明个性影响品牌。如果我们无法界定出其个性，可能就会使品牌广告残缺不全。If we start writing brand personalities as an obligatory addendum to these documents, we would be more likelyto maintain and build a brands personality, and very possibly we might breathe more life into

50、 the creativework itself .如果我们开始撰写品牌个性，将其视为简报资料中必须包含的项目，那么我们就比较能够建立并维持一项品牌个性，而且很可能可以为创意作品本身注入更多的生命力。A final word on briefing. The brand benefit in most strategies is usually written in extraordinarily banal terms and is fir the most part totally product performancecentred . We would suggest that whe

51、re an emotional benefit is relevant that more attention should be paid to writing this into the brand benefit statement. (Veryoften Unilever Managers summarise their strategies by simply using the brand benefit statement. If an emotional content is not written into be considered partof the strategy

52、.关于简报的最后一项要点：在大部分策略中的品牌利益都是以极为平凡的文字所写成，而且绝大部分都是以产品功能为中心。我门建议，如果品牌利益点与情感利益有关，就要更加注意，把这点列在品牌利益点陈述中。 （Unilever的经理人员经常都只是用品牌利益点陈述作为策略的概述，如果在品牌利益点陈述中没有包含情感利益的内容，那么情感就绝对不会被视为策略的一部分。）On - going Campaigns持续的 campaignsAll too often working on the next execution of a campaign is seenas creating a “new commerc

53、ial” that is virtually identical to the old one it is supposed to replace.（Unilever brand managers very often ask for a new commercial and then set down guidelines basedon the previous commercial which make it virtually impossible to do anything new .人们通常认为一个campaign中继续执行活动的发展，就是创作出一个“新的广告片”，而这只新片要与

54、其所要取代的旧片完全一致。（Uniliver 的品牌经理经常要求代理商发展新片，然后根据前一只片子来设定工作指引，结果到最后根本没有办法有任何创新。On the other hand, we know that the writers and artdirectors at cdpfight to work on the Hamlet commercial.Why? Because each execution has an idea in its own rightwhich develops and keeps fresh the original “core idea.”在另一方面，我们

55、知道CDP 广告公司的撰文人员和艺术指导都争先恐后地想要为哈姆雷特雪茄发展新的广告片。为什么？因为每项执行本身都有一个创意，以便发展并使原有的“核心创意”保持新鲜感。Suggestion :whenever a briefing is done for anotherexecution within a campaign, it should start with adescription of the original “core idea.” Once this isagreed, it should serve as the basis of all futurecampaign dev

56、elopment .建议：不论何时要为 campaign 中的后续执行做简报，在一开始都要描述一下原有的“核心创意”。一旦这个核心创意经过同意，它就应该被视为所有未来 campaign 发展方向的基础。The creative work developed would then be judged on the basis of how it contributes and freshens, rather than conformsto the previous commercial. It should be made clear to theagency that this is wha

57、t you expect, not just another carbon copy .要评断新发展的广告执行，应根据此作品如何对核心创意有所贡献并保持新鲜感来决定，而非依据它是否与先前的执行有一致性来判断。应该清楚地告诉你的代理商这才是你所期待的，你要的不是另一个复制品。This is also vital when extending a campaign into another medium.Lets look at an example. Here are two commercials for Surf detergent,they are from a campaign call

58、ed “Homemovies.”（SHOW： SURF - STOLZ AND SULLIVANS）这点在利用其他媒体来延伸广告活动时也非常重要。让我们看个例子。这里有两支 Surf 洗衣粉的广告片，是从一个叫“家庭电影”的 campaign 中选出来的。（Surf：史脱渍与苏利文）Suppose the task were then to do a complementary printcampaign. The most obvious thing to do would be to usea still from the TV . But is that understanding th

59、e true idea,or is it merely repeating an executional device?假设接下来要发展辅助性的平面 campaign 。最明显的工作就是运用电视广告片中的一个静止画面，但是这么做是因为确实了解真正的创意，抑或只是在重复一项执行想法？If the idea is really about real families giving a testimonial in their own words and images, then “Homemovies” becomes one of the ways in which they can expre

60、ss their feelings .如果创意本身的确是让真实的家庭以其自己的文字与形象做证言式广告，那么“家庭电影”就成了能让他们表达感觉的一种方式。So then you can arrive at a print campaign that extends the TV in a way that is more appropriate for the mediumitself .(SHOW: SLIDES OF SURF U . S . PRINT)所以接着你就可以发展出一套平面 campaign ，以更适合平面媒体的方式来延续电视广告。（美国 Surf 平面稿的幻灯片）Understanding and