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奧美全球創(chuàng)意總監(jiān):創(chuàng)意遭拒不可怕

奧美全球創(chuàng)意總監(jiān):創(chuàng)意遭拒不可怕

譚啟明 2012年07月03日
最偉大的創(chuàng)作往往游走于現(xiàn)實(shí)可能的邊緣。這就意味著,有時(shí)候由于這樣那樣的原因,一番心血最終的結(jié)果卻是徹底的失敗。盡管如此,創(chuàng)意人決不能輕易妥協(xié)。

????屋頂酒吧開(kāi)張前好幾個(gè)小時(shí),我們就到了那。但是,考慮到我們剛剛收到的消息,相信沒(méi)人會(huì)責(zé)怪我們的瘋狂。

????我把客戶推向崩潰的邊緣,同時(shí)還要爭(zhēng)取他的支持;我鼓勵(lì)同事突破創(chuàng)作的邊界,同時(shí)還要防止他們因?yàn)楦杏X(jué)違心而瘋狂;我在做這一切的同時(shí),我還在召集一個(gè)大型的歐洲區(qū)域會(huì)議。

????奧美(Ogilvy & Mather)歐洲中東及非洲辦事處的區(qū)域創(chuàng)意總監(jiān)保羅?史密斯正在埋頭喝悶酒。巴黎辦事處的克里斯?加布特則來(lái)回踱步,這位執(zhí)行創(chuàng)意總監(jiān)掩飾不住自己的懊喪和失望。作為他們的頂頭上司,我必須想辦法解決問(wèn)題。

????維也納這座城市是西方文明史上眾多偉大成就的集大成者,令其它城市汗顏。公司多位創(chuàng)意總監(jiān)聚集在此,展開(kāi)為期三天的密集討論和交流。

????管理一只創(chuàng)意團(tuán)隊(duì)就像用水銀造房子:天生地不穩(wěn)定而且危險(xiǎn)。所以我并沒(méi)有像搭積木那樣去建設(shè)創(chuàng)意,我只是試圖為其營(yíng)造最佳的孕育環(huán)境。當(dāng)面會(huì)談則是為這種環(huán)境打造基礎(chǔ)的最佳時(shí)機(jī)。

????然而就在這樣一個(gè)重要的會(huì)議上,我們遇到了最嚴(yán)重的創(chuàng)意困境??死锼挂蝗缂韧卦谖粗I(lǐng)域勇往直前,他領(lǐng)導(dǎo)的巴黎團(tuán)隊(duì)為某家一線飲料品牌制作了一段精彩的廣告片,試圖展現(xiàn)上流而略帶保守的品牌形象。片子拍攝了三年,每一個(gè)子兒都精打細(xì)算,但他們還是超支了。項(xiàng)目在失敗的邊緣搖搖欲墜,甚至可能是一場(chǎng)昂貴的災(zāi)難。全球首席執(zhí)行官楊明皓和我通過(guò)預(yù)算運(yùn)作拉到了額外的8萬(wàn)美元。我們的努力沒(méi)有白費(fèi),這樣的片子必將贏得喝彩,更重要的是,它將為客戶帶來(lái)盈利。

????客戶也很欣賞這部廣告片,準(zhǔn)確的說(shuō),欣賞片子的大部分,除了有一幕,他們覺(jué)得過(guò)了點(diǎn)。一周之前,我和公司的區(qū)域主席丹尼爾?希考利飛到客戶的歐洲總部去推銷(xiāo)該片。錢(qián)已經(jīng)不重要了,片子的創(chuàng)意才華橫溢,我們必須說(shuō)服客戶。從理性的角度來(lái)看,也許我們應(yīng)該讓步,刪去不合適的那一幕。兩秒而已,何況是客戶厭惡的兩秒。何必冒這么大的險(xiǎn)?

????我們堅(jiān)持,是因?yàn)槟莾擅刖褪菑淖吭降浇^妙之間的差別。那兩秒里,時(shí)鐘停擺,那兩秒展示了原始而炫目的奢華,和周遭的全球性衰退格格不入。那一刻影片臻入化境,那一刻也可能埋藏失敗的禍根。

????We were in the rooftop bar just a few hours before it was strictly decent to be there. But with the news we'd just received, who could blame us?

????I had to push a client to the breaking point while still keeping him on my side, encourage my creative colleagues to keep pushing the boundaries while keeping them from heading off the roof from feeling that their integrity was being compromised, and I had to do it all in the backdrop of a huge European regional meeting we had called.

????Paul Smith, the regional creative director for Ogilvy & Mather's offices in Europe, the Middle East, and Africa, sat hunched over his drink. Chris Garbutt, executive creative director for the Paris office, paced back and forth, frustrated and disappointed. As worldwide chief creative officer, I needed to figure out how to solve this problem.

????We had all convened in Vienna, a city that can claim an embarrassingly large share of responsibility for Western culture's great achievements. Dozens of creative directors had come together for three intense days of critique and sharing ideas.

????Managing a creative team is like building with mercury -- structurally unsound and toxic. So instead of trying to construct creativity, as if it were a kind of widget you can build, I try to create the best possible environment for it to grow. Face-to-face meetings are the best occasions for me to lay the groundwork for this kind of environment.

????And here, right in the middle of one of those cherished meetings, dropped a creative problem of the first magnitude. Chris had taken things well into the unknown, just as he ought to. He and his team in Paris had produced an impressive commercial for a major beverage brand with an upscale and slightly conservative image. The film had been in the works for three years. The team scrimped on each expense to pour every cent of the budget into the commercial, and theystill ran out of money. They were teetering on the edge of failure or even outright, expensive disaster. With some budgetary acrobatics, our global CEO Miles Young and I found them another $80,000 to work with, and I'm glad we did. It was the kind of film that wins acclaim -- and more importantly, rings the till.

????The client loved the film, too. Well, most of it. But one scene took things too far for them. The week before, I flew to the client's European headquarters with Ogilvy's regional chairman Daniel Sicouri to sell the commercial. Screw the money. We thought this was brilliant creative, and we had to convince them. Any reasonable person would wonder why we didn't just instantly cave and cut the offending scene. It was just two seconds of footage, and the client hated it. Why stake so much on it?

????We resisted because those few seconds of film took the commercial from being great to beingdangerous. Those seconds seemed longer than they really were since they displayed a scene of visceral and conspicuous extravagance in the midst of a global recession. That moment was where the film went so far out there that it courted failure.

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