Skip to content

La Tercera

L

Interviewee

76 Creative director; Art Director

Team Disadvantages

0, 2

Project Outcome

Successful

Industry

Media/Entertainment

Location

Santiago

Team Risk Tolerance

Medium-high

Team Dynamics

TeamDynamics_FunandProductive

Company

La Tercera


Well it's that over here one can make a decision but they need to check with someone else and so on [4398]
It is generally very high, in this case it wasn't so because they were investing very few money. [4399]
It was oriented towards the young people which also calmed them at the moment of making decisions, and the proposal was also very good. So they were, I mean to tell the truth they took it very well because it was a risky campaign. I mean it was risky because it was complete, and it involved some sayings that could upset certain customs, it mentioned words like ________, those things could upset some people but they took the risk and they did it. They were very nice, there. [4400]
Yes, they were both very, very short. [4401],[4402]
The client trusted the agency very much because the agency had done a great job building the brand, the third one, so then we already had a relationship with the client and with the creatives. [4408],[4403]
The general creative director had a very good relationship with the people from COPESA and the person in charge of ________ of these animated cartoons was a very young person a person who was just 28 years old who understood pretty well what we were doing. So then that was a very good support. The relationship was very good in that sense. [4410],[4409],[4404]
They were good, I believe that we were the youngest ones working, we worked on the side and ________ with the creative director, something that I am still not used to doing. Nowadays we work all together, the relationship was more distant. [4405]
Very good too, in fact, generally in that agency I mean they have the virtue that every one gets along just fine, they built friendships and good vibes. [4407],[4406]
And it had to do with the La Terecera newspaper, and it was a campaign to promote some DVDs of old Japanese animation. So then it was a great brief, it was a very interesting brief. That project, we began to work on it and we _________. We went to a house, we stayed there very late because we were very short on time and budget. So then we wanted to do something very good and that we would achieve what we needed spending very little money, which was to make sales for the newspaper. [4388],[4389]
We went to a house, we stayed there very late because we were very short on time and budget. [4390]
From there ' a specific case was that in a moment we established that La Tercera would go after the truth. It would be the diary that told you the truth and everything went in that direction and we did beautiful campaigns. All institutional communication had to do with that and I looked at that after five of seven years and today it is Mercurio's biggest competitor. Mercurio had to take down a lot of things. It has a lot more readers, we reached young people at that time and nowadays it's a different paper. It's a serious newspaper and everybody reads it. It's a model. But what I like the most is that the construction started with the agency and of how you can reach people with creativity, and for me that has been my most complete case. More than a specific case it's one that I always talk about when _________. I don't know if this is useful for you. [4345]
There are several. I have a project ' I managed a paper in another agency called La Tercera and I got to take it when it was a bad diary, yellow press, yellow headlines, visually ugly. I got to go through all the story from the point when the client wanted to compete with ' you know Chile ' I want to compete with Mercurio, I want to be on that level. I lived that entire process during five years where I had a client and I really experienced really being a partner with the client. We had really good discussions. I think he understood that his road was creativity, and like you said, everything we did worked really well with what we wanted as a future brand. From there ' a specific case was that in a moment we established that La Tercera would go after the truth. It would be the diary that told you the truth and everything went in that direction and we did beautiful campaigns. All institutional communication had to do with that and I looked at that after five of seven years and today it is Mercurio's biggest competitor. Mercurio had to take down a lot of things. It has a lot more readers, we reached young people at that time and nowadays it's a different paper. It's a serious newspaper and everybody reads it. It's a model. But what I like the most is that the construction started with the agency and of how you can reach people with creativity, and for me that has been my most complete case. More than a specific case it's one that I always talk about when _________. I don't know [4346],[4344],[4343]
Copesa, we could have done many things, they were a really good client. [4638]
It was a directory that had ' first we had a marketing manager, a general manager, the CEO was even in the important meetings and besides them two people more. But the quick decisions were made by two people. [4347]
Very well, they liked the creative subject. [4639]
Yes. There were people working under them, of course, in order to do things quickly but yes. Two high level people and on bigger things like the campaign, all five of them would come. [4348]
Yes, well I believe they are an ideal client and they take a lot of risks too. Risking in the sense of - [4640]
Yes, high. When you talk about people who are different ' they would take ' and it's not that they felt they were taking a risk. They felt that there's where the difference with Mercurio lay, speaking of ______. [4349]
At the beginning we tested until we stopped doing it because, as I tell you, it was a trusting relationship. 'Oh, you are the experts, you understand'' And they understood that sometimes testing kills things with no sense at all. [4360],[4350]
There was a low budget. [4641]
Too low. Institutional campaigns had normal budgets, but little GRB. Do you know what I mean by GRB? [4361]
The exposure x piece will have in the media. How many times ' if it's a brand with a lot of money, I put the spot on TV and play it over and over. That's a lot of GRB. There are brands like La Tercera, where they didn't have a lot of money for their exposure so they understood that creativity was going to make the consumer pay attention to the message. It was going to get their attention because it had less plays than another brand that can play it and play it and the message gets in because of that repetition. In that sense they understood that it was better to have a media strategy. Few impacts but on shows that had a high rating and with a message that would catch people's attention, and we build everything from there because we didn't have a big budget in that sense. [4351]
Two weeks, very little time. But in general we function with very little timing. [4642]
Several things. It happened that at that moment we had a very inspiring agency. Working at that agency, with that people, at that place where we worked. It happened that for a moment a lot of people who loved each other very much came together. There was a lot of young talent under us and one of those moments happened where for two years people that thought in a very similar way came together in that agency; we had a lot of ideas, the place was ideal, we had a very good relationship and I attribute that wonderful job to that because an ideal team came together. [4363],[4362],[4364]
A context, a moment where things happened. But the most important thing for me was the team. The talent that they had. [4352]
Very much a partner, very trusting in that we were the experts on this matter. [4365],[4353]
That they gave us enough freedom and they trusted our judgment, they trusted us. I mean they knew that if we presented something very creative, they knew and they trusted that we were presenting something that worked not just something that we liked because it was creative. I don't know if I am explaining myself. [4647],[4643],[4648]
In terms of the relationships with them? No, it's just that. It was an issue of trust, of trusting each other and respecting and saying, 'Yes, you are right.' Sometimes it was arguing and explaining to the other side as well as accepting when we were wrong too. [4354],[4355]
We were four in that team. Leo was the creative director, and I worked with Sergio Rosetti we were in the same team of two, there was a copywriter and we were friends we got together on the weekends. I mean I am still friends with Leo and we were friends. We have a close friendship. I mean for me going to work, it still does not mean coming to work for me it means doing something that I love. [4644]
That team went everywhere together, we saw each other a lot and we also loved each other in the sense of respect. [4368],[4367],[4366]
They were very good. I think they were above average because they didn't just work, it also transformed into our social life, a team. I don't know if that was very good in the end, but at that moment we did our best pieces and as a result La Tercera is what it is today. That team went everywhere together, we saw each other a lot and we also loved each other in the sense of respect. [4357],[4358],[4356]
Good. On my part they were well I feel that I have a good relationship with people. I am not an aggressive guy and I don't feel that I am always right, I get along with the people from accounts in general. [4649],[4645]
Yes, we didn't have those old limits where ' I saw that maybe because since it was more of a boutique, it had a lighter structure. [4359]
No, they were very good. What happens is that in this project in particular, I mean it was a piece that worked and that was well-liked and that looked good, there wasn't any problem, on the other hand, everybody was like happy and like happy with - I mean there couldn't be a problem. [4646]
Reference Tags
[4398] Indecisive leadership,[4399] Risk compensation,[4400] Risk compensation,[4401] Lack of resources,[4402] Unbalanced workload pressure,[4408] Trust,[4403] Trust,[4410] Organizational encouragement,[4409] Trust,[4404] Trust,[4405] Trust,[4407] Great example - Team Dynamics,[4406] Trust,[4388] Lack of resources,[4389] Unbalanced workload pressure,[4390] Planning fallacy,[4345] Ikea effect,[4346] Communicating ideas across domains,[4344] Trust,[4343] Win-win conflict about ideas,[4638] Trust,[4347] Decisive leadership,[4639] Trust,[4348] Decisive leadership,[4640] Trust,[4349] Trust,[4360] Trust,[4350] Trust,[4641] Lack of resources,[4361] Planning fallacy,[4351] Lack of resources,[4642] Unbalanced workload pressure,[4363] Collaborative-Creative Disposition,[4362] Trust,[4364] Win-win conflict about relationships,[4352] Trust,[4365] Trust,[4353] Trust,[4647] Trust,[4643] Trust,[4648] Win-win conflict about relationships,[4354] Trust,[4355] Win-win conflict about ideas,[4644] Great example - Team Dynamics,[4368] Appropriate resources,[4367] Organizing effectively,[4366] Trust,[4357] Great example - Team Dynamics,[4358] Romanticized notion of team,[4356] Trust,[4649] Win-win conflict about relationships,[4645] Win-win conflict about relationships,[4359] Promote autonomy & sense of ownership,[4646] Trust

related tags

Sign Up and Start Learning

ABOUT ME
MADISON BARNETT
I get my inspiration from the fictional world. I’m a social geek. Completely exploit 24/365 catalysts for change whereas high standards in action items. Conveniently whiteboard multifunctional benefits without enabled leadership.
GET IN TOUCH
Quickly communicate covalent niche markets for maintainable sources. Collaboratively harness resource sucking experiences whereas cost effective meta-services.