1、奧美廣告公司 1989年春季訓(xùn)練教材 BIG IDEA 大創(chuàng)意,Prepared by： Richard Fowler Worldwide Creative Director- Unilever Ogilvy &Mather， London Date ： April， 1989,Just over a month ago I spent a week in Australia. During that visit Iwas asked to conduct a three-hour Creative Seminar with the senior managers of all Unileve

2、r companies. Knowing that I was due to give a particular question in mind . The question was this: do the senior managers of Unilever companies (and I include their agencies in this ) agree on what a big idea is? And can we articulate the difference -if any - between an advertising property and an a

3、dvertising idea?,幾個月以前我在澳洲停留了一個禮拜。在那個禮拜中，他們要求 我為所有Unilever旗下公司的資深經(jīng)理人員舉行三個小時的創(chuàng)意講習(xí)會。 因為我在一個月以前就知道要演講，因此我以自己心中一個特別 的問題做為著廠講習(xí)會的架構(gòu)。這個問題是：Unilever旗下公司的資深經(jīng) 理人員（也包括他們的廣告代理商）是否對什么是大創(chuàng)意有所共 識？而我們是否能清楚分辨廣告資產(chǎn)及一個廣告創(chuàng)意之間的差異 ？ 如果有差異的話。,During that seminar I showed many campaignso Persil （going back as far as 1963）,Do

4、ve Soap U.S. (going back ten years),Marlboro TV (going back 18 years), Hamlet cigars U.K. (going back 20 years),Surf U.S.(going back 5 years), Brooke Bond P.G. Tips “Chimps” (going back 30 years), and a number of others.,在那場講習(xí)中,我給他們看了許多系列廣告活動：Persil（追 溯到1963年），美國Dove香皂（追溯到10年前），萬寶路 電視廣告（追溯到18年前），英國哈

5、姆雷特雪茄（追溯到20 年前），美國Surf洗衣粉（追溯到30年前），還有許多其他 的系列廣告活動。,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”。,每次我給他們看過一個，為了方便稍后的討論，我要 求在場的每一位人士寫下來廣告中的“大創(chuàng)意”

6、是什么，“廣告資產(chǎn)”是什么。,I have to tell you, there was very little agreement about which was which when we came to discuss the campaigns. Moreover, there was considerable disagreement, campaign by campaign, about what the big idea was in each campaign and in many cases even what the property was.,我必須告訴你們，當(dāng)我們在

7、討論這些campaigns時，對于究竟 何為“大創(chuàng)意”，何為“廣告資產(chǎn)”這些問題很少達(dá)成協(xié)議， 尤有甚者，關(guān)于每個campaign中其大創(chuàng)意為何-在許多個案中， 甚至連其廣告資產(chǎn)為何-都有不少的歧見。,The point of telling you this and conducting that seminar the way I did was not to “catch someone out”, us to help you do here today.,我之所以告訴大家這點，以及以這種方式來舉行講習(xí)會的原因， 并不是為了要“逮住人們的錯誤”，而是要突顯今天我們所要 幫助各位了解的大

8、創(chuàng)意其重要性。,The declared aim of this conference is stated thus, I paraphrase:,我將那次會議的目的摘錄于下：,“With the increased emphasis being given to the importance of creating and maintaining long -term brand properties, it is felt right to ( have this conference).formed around the concept of Creating the Big Idea

9、, the purpose being to demonstrate that long-lived properties of the sort we are seeking usually have within them a big idea and that Unilever needs more.”,“由于有愈來愈多的人強(qiáng)調(diào)創(chuàng)作并維持長期品牌資產(chǎn)的重要性， 我們認(rèn)為應(yīng)當(dāng). . .（舉行這項會議）. . .其主題環(huán)繞著創(chuàng)作大創(chuàng) 意的概念，其目的為示范我們所尋求的長期資產(chǎn)中所包含的 大創(chuàng)意以及示范出Unilever所更為需要的特質(zhì)”。,The request you mad to us

10、- your agencies , and in this case specifically to Ogilvy & Mather - was”. . .not only to bring examples of big ideas but also to cover such areas as how to brief agencies to create big ideas, how to recognise them, and how to develop and sustain them both internationally and over time.”,Unilever 對我

11、們的要求包括其廣告代理商，在今天 這種情 形特別是對奧美“不只是給大家看看大創(chuàng)意的范例，并 且還要涉及在國際性及長期性方面，如何向廣告代理商做簡報 以便產(chǎn)生大創(chuàng)意，如何辨識大創(chuàng)意，以及如何發(fā)展并維持大創(chuàng)意 等范圍?！?We will, over the next 60 minutes, address this subject from a point-of-view that we think is virtually guaranteed to help Unilever companies improve their success rate in obtaining “Big Idea

12、”.,在接下來的60分鐘內(nèi)，我們要簡述這項主題從我們認(rèn)為對 Unilever 公司改善其獲得“大創(chuàng)意”的成功率有實際保證的觀 點來講。,Were going to start by asking you to examine the terms of your request: “How to brief agencies to create big ideas, how to recognise big ideas, etc.”,我們要從檢視Unilever 這項要求中的文字做開始： “如何對廣告代理商做簡報以便產(chǎn)生大創(chuàng)意，如何辨識大創(chuàng)意 . . .等等?！?Inherent in that

13、 is the assuption that big ideas come into this world as “big”-and we submit that that is a very dangerous assumption. We submit that “Big Ideas” come into this world merely as ideas - with the potentail to be big. Someone - you， your agency - then has to see that it becomes a Big Idea.,在這項要求中具有一項假設(shè)

14、大創(chuàng)意在產(chǎn)出時就很“大” 我們必須提出，這是一項很危險的假設(shè)。事實上，“大創(chuàng)意” 在生出來的時候都只是“創(chuàng)意”而已然而卻具有成為大創(chuàng)意 的潛力。然后有一些人客戶，代理商必須在旁小心看護(hù)， 使其長成一個大創(chuàng)意。,For the next part of this presentation, we will show you a number of campaigns - capaigns acknowledged by everyone as great campaigns. What we will illustrate to you is not that these campaigns s

15、tarted out that way - rather that they were all ideas made big only by the manner in which they were developd, executed and sustained over time. For it is our contention that there are no big ideas initially - there are only ideas - made big by strong-minded, disciplined and adventurous clients work

16、ing with strong-minded, disciplined and highly creative people.,這場演講接下來的部分，我們要給 大家看一些campaigns-眾人公認(rèn)的 偉大campaigns。我們要為大家描述 的并不是這些campaigns 的著手方式 而是它們僅靠參與者發(fā)展，執(zhí)行及 長期持續(xù)的態(tài)度而變大。我們主張 沒有任何創(chuàng)意一開始就是大創(chuàng)意 一開始都只是創(chuàng)意而已，經(jīng)由具強(qiáng) 烈心態(tài)，有紀(jì)律，不畏冒險的客戶 以及具強(qiáng)烈心態(tài)，有紀(jì)律，具高度 創(chuàng)意能力的人加以哺育，才會變大。,It is our contention that what we must learn

17、 to recognise is the core idea. If this core idea has the potential to be a big idea, it will become so only after a number of advertisements have been done that bring that core idea to life.,我們認(rèn)為我們必須學(xué)習(xí)如何辨認(rèn)核心創(chuàng)意。如果核心創(chuàng)意有潛力 成為大創(chuàng)意，只有在做了許多廣告賦予核心創(chuàng)意生命之后，才會 實現(xiàn)。,Further, we hope to show you that an advertisi

18、ng property whilst highly desirable and eagerly to be pursued is no substitute on its own for a great campaign consistently and relentlessly kept relevant and alive.,更進(jìn)一步地說， 我們希望讓大家知道，一個人人渴望并且急切追求的 廣告資產(chǎn)，并不能取代持續(xù)一貫，毫不放松地保持相關(guān)性及活躍力的 偉大campaign。,Incidentally, every campaign we will show you is totally co

19、nsistent with, and could easily have been developed within, the excellent guidelines outlined in the new U . P . G . A.,不過順帶一提，我要給大家看的每個campaign都完全符合由 Unilever偉大廣告計劃（U . P . G . A . ）所勾勒出的杰出指引， 同時如果根據(jù)這些指引作業(yè)，都可以輕易地發(fā)展出來。,I will start us off with a campaign that has been running extraordinarily success

20、fully for 20 years in England. (SHOW ONE HAMLET: COLUMBUS),我要以一個在英國極為成功地進(jìn)行了20年的campaign做為開始。 （哈姆雷特雪茄：哥倫布篇）,When this campaign was first sold, the central idea must have been this: that in the face of lifes little ups and downs ,Hamlet cigars have unique restorative and relaxing qualities.,當(dāng)這個campaig

21、n 最初賣給客戶的時候，其中心創(chuàng)意必定是這樣： 面對生命中的起伏，哈姆雷特雪茄具有獨(dú)特的令人恢復(fù)及放松的 特質(zhì)。,The property will be a musical there occuring in the commercial always at the moment when Hamlet comes to the rescue.,其資產(chǎn)為在廣告中總是在哈姆雷特雪茄前來搭救之時所出現(xiàn)的主 題音樂。,Now had someone said that to you 20 years ago - would you have said - “Eureka! The big idea

22、”. I doubt it.,現(xiàn)在假設(shè)在20年前對你這樣建議，你是否會說：“我找到了！ 這就是大創(chuàng)意！” 我懷疑。,But 20 years laater, after that little idea has been nurtured, persistently and constantly kept fresh - its another story. （SHOW: PHOTOBOOTH / INCONVENIENCE / TOUPEE),但在20 年后，當(dāng)年的那個小創(chuàng)意經(jīng)過哺育，持續(xù)一貫地保持新 鮮，已不可同日而語。 （照相亭篇/不方便篇/假發(fā)篇）,Before I show you

23、the next campaign, let me talk about “our” (yours and our) inability to articulate or identify what we jointly mean by “an idea” or an “advertising property.”,在給大家看下一個campaign之前，我要談?wù)劇拔覀儭?（各位及 我門） 所缺乏的能力 分辨或確認(rèn)“創(chuàng)意”或是“廣告資產(chǎn)” 的意義之能力。,I have just returnde from Southeast Aasia. Among other things I ran a s

24、ession in Malaysia with Unilever Brand Managers and agency along the same lines as we did in Australia - with much the same resuult - the same problem in distinguishing between “an idea” and “a property.”,我剛剛從東南亞回來。除了其他的公務(wù)以外，我在馬來西亞為 Unilever的品牌經(jīng)理以及代理商舉行了一個講習(xí)會，其主題跟 我們在澳洲所講的一樣，而結(jié)果也幾乎一樣 同樣有辨識“創(chuàng) 意” 及“資產(chǎn)

25、”之區(qū)別的問題。,I also, along with Ron Latham, sat on a panel at a Unilever Marketing Course where the participants presented examples of “good” and “bad” advertising. As a part of their presentation, they were to identify “the idea.” In many cases they said the “idea” was to sell TV sets or shampoo or wha

26、tever.,我跟Ron Latham一起評審在Unilever行銷課程中，參加人員 所提的“好”與“壞”廣告的范例。在他們的提案中有一部分 是要確認(rèn)出廣告中的“創(chuàng)意”。在許多個案中，提案者認(rèn)為 廣告的“創(chuàng)意”是要賣電視機(jī)，洗發(fā)精或什么的。,In the Malaysian session it took a good ten or twenty minutes of discussion to get to the core of the Timotei campaign. But, as we said earlier, the exercise is not or was not int

27、ended to point fingers or catch anyone out.,在這場馬來西亞的講習(xí)會中，我們花了10 - 20 分鐘討論，并且 探討到蒂慕蝶camoaign的核心。但是，如同前面所說，這項練 習(xí)并不是為了要指責(zé)或逮住某人的錯誤。,But I think there are important implications:,但我認(rèn)為其中有幾項重要的意義：,1. If the underlying nature of the idea is not understood, then it is easy for countries in which you or we wi

28、sh to use the campaign in to dismiss it as inappropriate. Or, to misinterpret the idea and have it fail.,如果創(chuàng)意的基本性質(zhì)不被了解，那么各位或我們原本想要在 某些國家采用的campaign， 就會被以不合適為理由而放棄。 或者是誤解創(chuàng)意的本質(zhì)而導(dǎo)致失敗。,2. If the agency and the client do not understand or agree on what the fundamental idea is, then the ability to refresh

29、 the campaign may be diminished and lead to disagreement.,如果代理商及客戶對何為基本創(chuàng)意并不了解或是不能達(dá)成共 識，那么講 campaign 保持新鮮的能力可能就會遭到貶抑， 并導(dǎo)致歧見。,3. Some guidelines are too much execution based, and do not go deeply enough into why, I . E. , the core idea.,某些指導(dǎo)原則太過于以執(zhí)行為主，對于理由何在亦即核 心創(chuàng)意 并不夠深入。,4. A more general point: as t

30、here 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 differences (ideas and properties) are examined in detail.,總括來講：由于大家對創(chuàng)意及資產(chǎn)之間的差異似乎有很大的 困惑，也許在 Unilever 較正式的廣告課程中

31、應(yīng)該包含實務(wù)方 面的講習(xí)會，詳細(xì)地檢視那些差異（創(chuàng)意及資產(chǎn)）。,But I digress.,但我離題了。,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 told the following - would you have screamed “Eureka - a big idea!”,我要給大家看的這個 campaign 也是英國的，但卻是很新的 c

32、ampaign。所以你要下判斷。如果你的代理商以這種方式 表達(dá)并告訴你下列的創(chuàng)意想法 你會不會大叫：“我找到 了！這是一個大創(chuàng)意！”,The product is a coffee called “Red Mountain.”,這個產(chǎn)品是一種叫“紅山”的咖啡。,The agency said something like this: The idea is, that by parodying the audio language of real audio language of real coffee making in a tongue - in - cheek way, the bra

33、nd is moved closer to the ultimate coffee taste.,代理商是這么說的：其創(chuàng)意為 以一種不當(dāng)真的方式模仿真正 煮咖啡的聲音，籍此讓人們覺得此一品牌擁有接近純正的咖啡 口味。,The property is the way in which the sounds of coffee- making is produced.,其資產(chǎn)為制造煮咖啡聲音的方法。,Big Idea ? Lets see. (SHOW 3 RED MOUNTAIN SPOTS),大創(chuàng)意？ 讓我們看看。 （三支 “紅山”廣告片）,Time will tell whether thi

34、s is a truly big idea. But it looks to us as if it has all the ingredients of being an idea that, given property development creatively, could be built into a big one.,時間將會證實這是否為一個真正的大創(chuàng)意。但是它看起來似乎具 有創(chuàng)意的所有組成因素如果能將此資產(chǎn)繼續(xù)別具創(chuàng)意地發(fā)展 它極有可能成為一個大創(chuàng)意。,Each commercial is, in its own right, interesting - not just a

35、 cookie-cutter of the last.,上述每支廣告片都有其獨(dú)特的趣味 并非如出一轍。,Let me show you two campaigns. Two campaigns that have built two massive brands. （SHOW 3 PERSIL： MOTOR BIKE / BEDTIME STORY/ FAVOURITE SHIRT）,我現(xiàn)在要給大家看兩個 campaigns .這兩個 campaign 建立了兩 個重大品牌。 （三支 Persilo 廣告片：摩托車篇 / 上床時間故事篇 / 最喜愛的 襯衫篇）,Now please show

36、Oxo. （SHOW 3 NEW OXO KATIES）,現(xiàn)在看看 Oxo。 （三支新的Oxo 凱蒂主婦廣告片）,Those two campaigns are, Ibelieve, great campaigns that can only be described as Big Ideas.,我相信那個 campaigns 是偉大的 campaigns ，只能用大創(chuàng)意來 形容。,But what are they ?,但它們究竟是什么？,In shorthand the aPersil idea is : that use of Persil - with its superior whi

37、tening - is evidence of a more caring Mum (Mother). The properties: a son, a mum, and whiteness.,簡單地說，Persil 的創(chuàng)意是： 使用Persil， 其優(yōu)越的潔白效果， 可以證明媽媽有更多的關(guān)懷，其資產(chǎn)為： 兒子，媽媽以及潔白 效果。,Would you have bought that as a big idea?,你是否會覺得這是一個大創(chuàng)意而把它買下來？,And the OXO campaign?,Oxo 的 campaign 呢？,It is about the fundamental s

38、trength and relevance of the family embodied in a mother called Katie. The property:Katie,unwrapping the cube, the family and the tone of voice. 它是以一個叫凱蒂的家庭主婦具體表現(xiàn)出家庭的基本力量及相關(guān)性.其資產(chǎn)為：凱蒂，打開產(chǎn)品包裝的動作，家庭以及語調(diào)。,When first presented was that a big idea ?,當(dāng)這個創(chuàng)意在最初提出的時候，是否就是一個大創(chuàng)意呢？,If ever there was proof that a

39、ll Big Ideas start out as simply ideas and become Big because of the way they are nurtured and kept contemporary and relevant (commercial by commercial) - these campaigns prove it.,如果有證據(jù)可以證明大創(chuàng)意在出生的時候都僅僅是創(chuàng)意而已，由 于哺育的方式以及保持現(xiàn)代感跟相關(guān)性 （一支廣告片接著一支廣 告片持續(xù)下去）才會變大那么這些 campaigns 就是最佳證明。,Let me show you one of the

40、 campaigns that caused considerable confusion in Malaysia. (SHOW I HEINEKEN: POLICEMENS FEET),我要給大家看看在馬來西亞引起極大困惑的一個 campaign 。 （海尼根 ： 警察的腳 ）,That was the first commercial to run in this highly successful campaign. I would hypothesize that having decided upon refreshment as the basic strategy, the ag

41、ency was faced with a “me-to problem” that was a category norm .,那是在一個極為成功的 campaign 中第一支上檔的廣告片，我猜 由于代理商決定要以清涼作為基本策略，因此他們面臨了一個 “雷同問題”而那是存在于該產(chǎn)品類別之中的問題。,The core idea: By the use of visual hyperbole and sardonic humor assert that Heineken can revive parts of the body (and anything else ) because of it

42、s amazing refreshing properties.,核心創(chuàng)意為：運(yùn)用視覺夸張法以及諷刺性的幽默來說明，由于其 驚人的清涼資產(chǎn)，因此海尼根能使身體的各部位復(fù)蘇。,Lets see two more : (SHOW HEINEKEN: SLAVE SHIP / SITTING DUCKS),讓我們再看兩支： （海尼根： 奴隸船篇 / 鴨子篇）,I will show one more and then we will summarise and draw conclusions.,我要再給大家看一個 campaign ， 然后我會做個總結(jié)。,The next four commerc

43、ials are for Duracell. Maybe 15 years ago Duracell advertised their battery like this: (SHOW ONE : PINK RABBIT),接下來是四支金鼎電池的廣告片?？赡苁窃?5年前，金鼎是以 這種方式為其電池產(chǎn)品作廣告： （粉紅兔篇）,The idea: Use battery operated toys to visually demonstrate the longer life propertise of Duracell batterise compared to competition .,創(chuàng)意

44、： 運(yùn)用電池使玩具運(yùn)轉(zhuǎn)，以便在電視上示范金鼎電池比競爭 對手有壽命較長的資產(chǎn)。,The property: the “slam” device at the end .,資產(chǎn)： 片尾砰然合起的電池。,Big Idea? Maybe . But it was dropped in favour of 4 or 6 or 8 other campaigns that then ran. Sales declined .,大創(chuàng)意？ 也許是。但這個創(chuàng)意在后來進(jìn)行的其他4 -8個 campaigns 之中就被舍棄了。因此銷售量銳減。,When Ogilvy in New York were appoin

45、ted, we went back to that idea and have stayed with it ever since . (SHOW 3: AIRPLANES / CHARIOTS / BIRDS KODAK),當(dāng)紐約奧美接到這個客戶時，我們回溯到原來的創(chuàng)意，并持續(xù)其 做法。 （飛機(jī)篇/馬車篇/鳥篇 柯達(dá)）,Duracell is again No. 1. This campaign is on its way to becoming something you could describe as having - or being - a Big Idea .,金鼎電池再度坐上

46、第一名的寶座。這個 campaign 正逐漸發(fā)展成 為我們所謂的大創(chuàng)意。,Before I summarise we thought it might be useful to offer you a few practical suggestions that may help “generate, develop and nurture big ideas.”,在我做總結(jié)之前，我們認(rèn)為提供各位一些有助于“發(fā)想，發(fā)展， 養(yǎng)育大創(chuàng)意”的實際建議可能非常有用。,Agency Briefings,代理商簡報,We think that the agency briefing formats you

47、 use are generally very good . The UPGA section on briefing is extremely clear . BUT . . .,我們認(rèn)為各位所用的代理商簡報格式大致上而言非常好。UPGA中 說明簡報的部分也極為清楚。 但是 . . .,The fact is that these formats are seldom used. Particularly outside the U . K .,事實上各位很少使用這些表格。特別是在英國以外的地區(qū)。,Anything you and your colleagues can do to enfo

48、rce your own rules could make a significant difference to the standard of briefing and thus the final advertising .,各位為了實行規(guī)則所做的努力都能使簡報的水準(zhǔn)和最終的廣告產(chǎn)生很大的不同。,On the same subject : briefing, we believe there is a strong case for an addition to the document relating to brand personality .,關(guān)于簡報，我們認(rèn)為有關(guān)品牌個性的資料

49、中非常需要加入另 一項重點。,In the current briefing outline a lot of attention is paid to positioning and product performance but very little to who the brand is .,在現(xiàn)有的簡報綱要中，大部分的注意力都放在定位及產(chǎn)品功能方面，卻很少注意到產(chǎn)品是誰。,Most of the “big ideas” we all admire imbue the brand with an indelible character . If we are unable to def

50、ine what that is, it probably points up a deficiency in the brands advertising .,大部分我們所贊賞的“大創(chuàng)意”都是以不可磨滅的鮮明個性影響品牌。如果我們無法界定出其個性，可能就會使品牌廣告殘缺不全。,If we start writing brand personalities as an obligatory addendum to these documents, we would be more likely to maintain and build a brands personality, and ve

51、ry possibly we might breathe more life into the creative work itself .,如果我們開始撰寫品牌個性，將其視為簡報資料中必須包含的項 目，那么我們就比較能夠建立并維持一項品牌個性，而且很可能 可以為創(chuàng)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 produc

52、t performance centred . We would suggest that where an emotional benefit is relevant that more attention should be paid to writing this into the brand benefit statement. (Very often Unilever Managers summarise their strategies by simply using the brand benefit statement. If an emotional content is n

53、ot written into be considered part of the strategy .,關(guān)于簡報的最后一項要點：在大部分策略中的品牌利益都是以極為平凡 的文字所寫成，而且絕大部分都是以產(chǎn)品功能為中心。我門建議，如果 品牌利益點與情感利益有關(guān)，就要更加注意，把這點列在品牌利益點陳 述中。 （Unilever的經(jīng)理人員經(jīng)常都只是用品牌利益點陳述作為策略的 概述，如果在品牌利益點陳述中沒有包含情感利益的內(nèi)容，那么情感就 絕對不會被視為策略的一部分。）,On - going Campaigns,持續(xù)的 campaigns,All too often working on the ne

54、xt execution of a campaign is seen as creating a “new commercial” 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 based on the previous commercial which make it virtually impossible to do a

55、nything new . 人們通常認(rèn)為一個campaign中繼續(xù)執(zhí)行活動的發(fā)展，就是創(chuàng)作出一個“新的廣告片”，而這只新片要與其所要取代的舊片完全一致。（Uniliver 的品牌經(jīng)理經(jīng)常要求代理商發(fā)展新片，然后根據(jù)前一只片子來設(shè)定工作指引，結(jié)果到最后根本沒有辦法有任何創(chuàng)新。,On the other hand, we know that the writers and art directors at cdpfight to work on the Hamlet commercial. Why? Because each execution has an idea in its own rig

56、ht which develops and keeps fresh the original “core idea.”,在另一方面，我們知道CDP 廣告公司的撰文人員和藝術(shù)指導(dǎo)都 爭先恐后地想要為哈姆雷特雪茄發(fā)展新的廣告片。為什么？因為 每項執(zhí)行本身都有一個創(chuàng)意，以便發(fā)展并使原有的“核心創(chuàng)意” 保持新鮮感。,Suggestion :whenever a briefing is done for another execution within a campaign, it should start with a description of the original “core idea.”

57、Once this is agreed, it should serve as the basis of all future campaign development .,建議：不論何時要為 campaign 中的后續(xù)執(zhí)行做簡報，在一開始 都要描述一下原有的“核心創(chuàng)意”。一旦這個核心創(chuàng)意經(jīng)過同意， 它就應(yīng)該被視為所有未來 campaign 發(fā)展方向的基礎(chǔ)。,The creative work developed would then be judged on the basis of how it contributes and freshens, rather than conforms

58、to the previous commercial. It should be made clear to the agency that this is what you expect, not just another carbon copy .,要評斷新發(fā)展的廣告執(zhí)行，應(yīng)根據(jù)此作品如何對核心創(chuàng)意有所貢獻(xiàn) 并保持新鮮感來決定，而非依據(jù)它是否與先前的執(zhí)行有一致性來判 斷。應(yīng)該清楚地告訴你的代理商這才是你所期待的，你要的不是另 一個復(fù)制品。,This is also vital when extending a campaign into another medium. Lets look

59、at an example. Here are two commercials for Surf detergent, they are from a campaign called “Homemovies.” （SHOW： SURF - STOLZ AND SULLIVANS）,這點在利用其他媒體來延伸廣告活動時也非常重要。讓我們看個 例子。這里有兩支 Surf 洗衣粉的廣告片，是從一個叫“家庭電影” 的 campaign 中選出來的。 （Surf：史脫漬與蘇利文）,Suppose the task were then to do a complementary print campaign. The most obvious thing to do would be to use a still from the TV . But is that understanding the true idea, or is it merely repeating an executional device?,假設(shè)接下來要發(fā)展輔助性的平面 campaign 。最明顯的工作就是運(yùn)用電視廣告片中的一個靜止畫面，但是這么做是因為確實了解真正的創(chuàng)意，抑或只是在重復(fù)一項執(zhí)行想法？,If the i