【正文】 ial by mercial) 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?s 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)。 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。 （飛機(jī)篇 /馬車篇 /鳥篇 [柯達(dá) ]） Duracell is again No. 1. This campaign is on its way to being something you could describe as having or being a Big Idea . 金鼎電池再度坐上第一名的寶座。 UPGA中 說明簡報的部分也極為清楚。 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)品牌個性的資料中非常需要加入另 一項重點。 If we start writing brand personalities as an obligatory addendum to these documents, we would be more likely to maintain and build a brand?s personality, and very 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。） On going Campaigns 持續(xù)的 campaigns All too often working on the next execution of a campaign is seen as creating a “new mercial” that is virtually identical to the old one it is supposed to replace.（ Unilever brand managers very often ask for a new mercial and then set down guidelines based on the previous mercial which make it virtually impossible to do anything 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。 Suggestion :whenever a briefing is done for another execution within a campaign, it should start with a description of the original “core idea.” 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”。 This is also vital when extending a campaign into another medium. Let?s look at an example. Here are two mercials 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。最明顯的工作就是運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 idea is really about real families giving a testimonial in their own words and images, then “Homemovies” bees one of the ways in which they can express their feelings . 如果創(chuàng)意本身的確是讓真實的家庭以其自己的文字與形象做證言式廣告，那么“家庭電影”就成了能讓他們表達(dá)感覺的一種方式。 There are , of course , some things that we should do: 當(dāng)然，有些事則是我們應(yīng)該做的： Response to the Briefing 對簡報的反應(yīng) We know that it is all too easy to accept a briefing from a client even thought we know in our heart of hearts it is unlikely to stimulate either great creative thinking or great advertising . 我們都知道要接受客戶給的簡報實在是太容易了，即使我們在內(nèi) 心深處非常明白這份簡報并不太可能激發(fā)偉大的創(chuàng)意想法或是偉 大的廣告。） Presentation of Work 創(chuàng)意作品提案 Too often in creative presentation we go straight from setting the scene with the strategy to presenting script and storyboard. We think it should be standard practice to present the mercials in the context of the core idea and also the idea in the mercial that is going to develop that core idea. We expect that if this were done, client response and judgement would be made easier. And, of course, it would mean that the agency would be less able to disgui8se the absence of an idea within an execution. 在創(chuàng)意提案中，我們通常先描述策略景象，然后就直接提稿子和腳本，我們認(rèn)為以下才是標(biāo)準(zhǔn)的實務(wù)動作：應(yīng)先提出廣告中核心創(chuàng)意的前后內(nèi)容，以及如何發(fā)展核心創(chuàng)意的廣告片構(gòu)想。 Unilever believes that longterm properties usually have with them a big idea and Unilever needs more of them . Unilever 也相信，長期資產(chǎn)中通常包含了一個大創(chuàng)意 —而Unilever 需要有更多這樣的大創(chuàng)意。事實上，我們認(rèn)為 創(chuàng)意跟資產(chǎn)合而為一的情形的確非常少有。 Therefore, we suggest very strongly that you should not conclude that because you have a property that you necessarily have an idea or a long term campaign. 因此，我們大聲呼吁各位不應(yīng)如此推論 — 以為只要擁有資產(chǎn)就必定擁有創(chuàng)意或是長期 campaign 。（我們逐字逐句皆同意。 It argues that the onus of responsibility on every 。一點一滴，一支片子接著一支片子，經(jīng)年累月積而成的。而在發(fā)展的過程中，各位應(yīng)該以 UPGA 原則為導(dǎo)引。 Marlboro is an example, Snuggle Bear may well bee one . But they are rare . 萬寶路是一個例子，熊寶寶衣物柔軟精可能也會成為一個例子。 Mather, agree wholeheartedly with this objective and believe the way to achieve this end is to start by defining what is meant by an Idea . 奧美全心全意贊同此一目標(biāo)，并且相信達(dá)到此一目標(biāo)的方法就是從界定創(chuàng)意構(gòu)想的意義開始著手。當(dāng)然，如果執(zhí)行中缺乏創(chuàng)意，代理商也就比較無法掩飾。然而，我們應(yīng)該準(zhǔn)備多做這類的事，而且，的確，客戶也應(yīng)期待我們這么做。 （美國 Surf 平面稿的幻燈片） Understanding and articulating the idea is not meat to be a onesided exercise. A number of the suggestions we?ve made like writing down the “core idea” should be done jointly . 了解與闡明創(chuàng)意并不意謂著這是單方面的動作而已。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。