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J&B Scotch Whisky

J

Interviewee

195 Art Director

Team Advantages

Team Disadvantages

3, 3

Project Outcome

Successful

Industry

Alcohol

Location

Cape Town

Team Risk Tolerance

Medium

Team Dynamics

TeamDynamics_Turnaround

Company

J&B Scotch Whisky


We had to adapt a part of the stuff and come up with new executions. So, and it's quite difficult, those kind of projects with the brand off stuff, because it's got very tight restrictions. I mean, everything didn't run smoothly. But what I did like about the project is getting everyone involved in the same room. Like, I don't like having to work with the retouchers separately, and the photographers separately, and ... I actually like it if everyone is on the same page the whole time. And I won't brief anyone separately. It works very well, 'cause you get your expert and I get my photographer, my retoucher talking from the very beginning. And you know, I also like ... what we did in the project is we came up with the staff and then before I had to say "No, we're shooting at like, and this and this and this," I first speak to the photographer, 'cause he's a guru in that area, so why would I go and with my limited experience, say ... so I spoke to him, gave him the whole, like the scans and stuff, and said "What needs to be ... how are we gonna solve this? What is the best way to solve it?" Because it's quite difficult having a five meter mirror ball in a real life scene without creating a ... putting shadows, reflections, how are we gonna do it ... [9272],[9251],[9270],[9269],[9252]
So in the end, and the global stuff, there was a lot of stuff that I think was done quite badly. I mean, it was cool, but there was some stuff that was quite ... we wanted to break away from it a little bit 'cause there was a lot of like, that. In one of them, the hand was lost in the ball. It wasn't even there. It was badly done. But I mean, people don't notice. Oft, what they just see is cool, you know. Anyways, so ... yeah that was really nice, because he got his retoucher and they worked it out exactly. And I like having that much control over the product beforehand, like, knowing there'll be no surprises. Like, we know the wardrobe is definitely this, the colors are working together, from the beginning I know my mixers this ... they were all in the meetings. I mean, that's a normal, people aren't actually meeting, but just before that, all the problem solving, that was quite cool. 'Cause, I mean the one ball was six by a hundred, so I mean to actually shoot a thing that's--'cause it was a continuous train, the bauble was like a train with people pushing mirror balls. [9253],[9254],[9273],[9262]
And the whole thing wasn't mutually conceptual. It wasn't creatively conceptual, this idea. It was more the working that felt, the whole process was quite smooth. And it was all because of the communication that there wasn't any gaps. And it was ... you know, it was cool that he wasn't, you know, he wouldn't phone me and say "I need ..." it wasn't like a "what now? Kind of thing. It was constantly working together on it completely. Like, and his expertise and putting mine together and getting the retoucher together and having discussions and then getting the sliders together before we even do anything. So that was very cool. And also just from one house. I think it's the one house kind of thing, 'cause they organize their casting from the ... so there was just no room for someone not knowing or falling off the gap or anything like that. [9255],[9256],[9263]
It was constantly working together on it completely. [9281]
And then, yeah, it just came out very well. I'd say like, just the process for me was like an absolute joy. It was just lovely. Just knowing like ... there were some problems one the client side. The whole thing almost fell apart on the day of the shoot because there was miscommunication on the ... they didn't approve a thing [9282]
And then, yeah, it just came out very well. I'd say like, just the process for me was like an absolute joy. It was just lovely. Just knowing like ... there were some problems one the client side. The whole thing almost fell apart on the day of the shoot because there was miscommunication on the ... they didn't approve a thing, they thought it would be fine, and then on the day they said no, they wanted more ... they had comment about the one tower, and it's, or something like that, there wasn't a tower, and there was a whole thing. [9257],[9258],[9264]
you know, and our budgets are often very small, that's very frustrating. [9279]
So in that way, often the approval process takes quite long, especially with global stuff. And they get quite scared. Guys here get quite scared of, it's almost like they don't trust us here. [9283]
So in that way, often the approval process takes quite long, especially with global stuff. And they get quite scared. Guys here get quite scared of, it's almost like they don't trust us here. So we get a lot of hindrances that way, because they think ... you know, if global does something, then they trust it, if we do it here, then they think it can't be or ... you know, and our budgets are often very small, that's very frustrating. [9274]
But often now, the projects as well. There was another one also we worked on, was J&J, Sleepy Boys Dreamed Of. Also again, it's nice when you have a big idea and it fleshes out quite well, you know, it has all, it answers all the boxes. It's not a lot of miscommunication. But see, in the end there was some miscommunication, because it's not all from the same stable. Like we have a, there was a Below the Line company that did their stuff, so [inaudible 00:20:46], it's all the, I have to go through client service to get ... it's sometimes incredibly frustrating, 'cause you actually just want to speak to the other guy and say "Oh, all the files, it's all here," but then there's so much gaps and ... in the end, the projects get so long, or you get the thing so late, and you've got like three days instead of where you could have had two weeks. [9275],[9244]
in the end, the projects get so long, or you get the thing so late, and you've got like three days instead of where you could have had two weeks. [9284]
Oh, yes, it was very ... my creative director went over, drove over to them, and convinced them by showing pictures [inaudible 00:24:06], showing the setting, because it was all about the setting. Showing them the setting and saying, "Does this look ... what does this remind you of?" And because a lot of the people, they said, "Oh, Joburg without the tower in it." And we said, "The tower will be there, but like, because it's the same angle, but buildings is blocking it, so we just had to move the one thing so you can see it." But people were like "Oh send it, send it." [9265]
So most of the people in Brandhaus, they went like, "Oh ..." and then they, because the research, out of their little small group, 'cause there was one guy going "No no no." Which, anyway, there's people who said no, didn't have a say, they were actually global, it's not really their say. Our client was fine with it originally. But she's obviously, they're scared of the [inaudible 00:24:57], the global guys, even though it's not ... they were more into codes on legal stuff, on like "is the dress too short," or "is this too that," you know, that's what they say it's about, but they're not, they say isn't really about the location. But they said it and she was a bit nervous. [9271],[9276]
Yeah. And I think because they've lost a lot of money, that also helped us, by saying, "okay, well this is the cancellation fee." You canceled late. If they wanted to cancel then they should have done it earlier. And we, often with clients we have that problem. Like, very last minute they want to change something, and then ... but you can't just do it at the last minute. [9285],[9286]
Yeah. And I think because they've lost a lot of money, that also helped us, by saying, "okay, well this is the cancellation fee." You canceled late. If they wanted to cancel then they should have done it earlier. And we, often with clients we have that problem. Like, very last minute they want to change something, and then ... but you can't just do it at the last minute. 'Cause like, there's ... in a way, clients need to be educated in that way. I feel very strongly about that, because we can't say yes for everything if ... they should know. You can't just do that. You say, now there's lots of things that have to follow. [9277]
That's very much ... but they can, I mean, I do think, if I compare some of our clients to others, when a client is more educated in advertising in knowing how the process works, it's incredibly important. If they don't know, then they really expect, and it's very up to the client service people to get that across, to explain to them the process, and how long it takes, and yeah. You have to set your boundaries in advertising so hectically. [9278],[9245]
On this project, or ...? Oh, this wasn't a new project. No, they were quite nervous, I think. But at least they went through with it in the end. [9246]
I think depends then on your, you know, if you're doing it for the client or if you're doing it for your own like ... than win an award. Because it won't win an award, because it, not so many, because it's their idea, and our execution. But yeah. [9287]
We try to make it local. So I remember us all sitting, having cocktails, thinking of stuff together, because we got stuck with a [inaudible 00:33:56] by 101. And we obviously want to use the sights to its maximum to do something different still, even if it is a global thing, to do it even better, and even more different. Still try and be creative with it. It's a little bit difficult, because ... it's difficult to stay creative if you know it's a thing that ... you won't get recognition for it because it's been another one, so adapting it then, and still trying to do the craft well, I think depends then on your, you know, if you're doing it for the client or if you're doing it for your own like ... than win an award. Because it won't win an award, because it, not so many, because it's their idea, and our execution. But yeah. [9266],[9259]
On this one? It was actually ... well I didn't have a personal relationship with her, but client service girl, yeah, quite a cool relationship actually. She's very, see, she was actually very cool. It was the top guy that she spoke to, 'cause she got a little bit nervous, 'cause our thing was quite risky. Because it was all the de-editor codes on this project. We had a whole meeting. We almost thought, we warned them and said, "As long as you know ..." 'Cause with the local thing, the whole thing of rolling a mirror ball down the street, if you had to compare that with a normal de-editor code, they'd never allow that, because it's like, on the street, and you can do, you're saying this, and you're saying "irresponsible this," and ... there's lots of things you can say, 'cause I mean, we couldn't even, there's so many things we can't do here because of those laws. And they have the same stuff but it seemed to past this. So because we're going from that we're like, "Oh, okay, well we'll roll the balls down this train station. It'll be fine. On a rooftop." I mean, usually you wouldn't be able to do stuff like that, on a rooftop with a ball, because I had a TV ad. [9267],[9247]
So ... but she was very nervous because they then, afterwards, the big guys then said stuff like, "Ooh, they don't know about that, you can't do it on Mandela Bridge, because it's Mandela's name," and we're like [crosstalk 00:35:53] [9248]
Okay, it was successful in the way that we worked together on it. [9261],[9260]
That's a, yeah, seven and a half probably. The train. The train was quite different. That was quite more, of the project, 'cause we had three that we did, the train was quite something different, and it was quite, using ... the train station was using a billboard in quite a new, innovative way. I haven't seen a hundred meter by six, a five meter by a hundred meters story happening. Like, nothing is repeated, it's all different. That was a ... so in the global way, that was probably different then. [9249],[9268]
If we had, if it wasn't so rushed, that would have been better. [9288]
Yeah, more time definitely. If we had, if it wasn't so rushed, that would have been better. The rest, you know, it's just the time, 'cause I would've wanted to craft this train station more. Yeah, the time is where the problems came in, because that was, it was the crafting that I missed with, I wanted to clean up things more, and then also with the, you know, because of little time, it led, the whole problem with the location came in, because they didn't have time to look more, and ... just more time. The rest of it was actually quite smooth. Smooth going. [9250],[9280]
Reference Tags
[9272] Balance of challenging work,[9251] Communicating ideas across domains,[9270] Great example - JWT Methods,[9269] Great example - Team Dynamics,[9252] Organizing effectively,[9253] Communicating ideas across domains,[9254] Organizing effectively,[9273] Promote autonomy & sense of ownership,[9262] Win-win conflict about ideas,[9255] Communicating ideas across domains,[9256] Organizing effectively,[9263] Win-win conflict about ideas,[9281] Collaborative-Creative Disposition,[9282] Internal changes/challenges,[9257] Communicating ideas across domains,[9258] Organizing effectively,[9264] Win-win conflict about ideas,[9279] Lack of resources,[9283] Lack of trust,[9274] Trust,[9275] Communication issues,[9244] Planning fallacy,[9284] Planning fallacy,[9265] Win-win conflict about ideas,[9271] Indecisive leadership,[9276] Insufficient Feedback,[9285] Alignment,[9286] Indecisive leadership,[9277] Insufficient Feedback,[9278] Communication issues,[9245] Inexperience,[9246] Risk compensation,[9287] Reactance,[9266] Believes one has a hopeful path,[9259] Communicating ideas across domains,[9267] Believes one has a hopeful path,[9247] Risk compensation,[9248] Risk compensation,[9261] Communicating ideas across domains,[9260] Organizing effectively,[9249] Appeal to novelty,[9268] Believes one has a hopeful path,[9288] Planning fallacy,[9250] Planning fallacy,[9280] Unbalanced workload

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MADISON BARNETT
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