【導讀】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旗下公司的資深經理人員舉行三個小時的創(chuàng)意講習會。的問題做為著廠講習會的架構。而我們是否能清楚分辨廣告資產及一個廣告創(chuàng)意之間的差異？的系列廣告活動。何為“大創(chuàng)意”，何為“廣告資產”這些問題很少達成協(xié)議，尤有甚者，關于每個campaign中其大創(chuàng)意為何--在許多個案中，甚至連其廣告資產為何--都有不少的歧見。我之所以告訴大家這點，以及以這種方式來舉行講習會的原因，“由于有愈來愈多的人強調創(chuàng)作并維持長期品牌資產的重要性，‘大創(chuàng)意’以及示范出Unilever所更為需要的特質”。

　　

【正文】 ” 的 campaign 中選出來的。 （ Surf：史脫漬與蘇利文） Suppose the task were then to do a plementary 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? 假設接下來要發(fā)展輔助性的平面 campaign 。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感覺的一種方式。 So then you can arrive at a print campaign that extends the TV in a way that is more appropriate for the medium itself . (SHOW: SLIDES OF SURF U . S . PRINT) 所以接著你就可以發(fā)展出一套平面 campaign ，以更適合平面媒體的方式來延續(xù)電視廣告。 （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。我們所做的 許多建議 —例如像寫下“核心創(chuàng)意” —都是客戶應該跟代理商共 同完成的。 There are , of course , some things that we should do: 當然，有些事則是我們應該做的： Response to the Briefing 對簡報的反應 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 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。 It is, of course, extremely difficult to go back to a client with objection and suggestions on their briefing. However, we should be more prepared to do this , and ,indeed , you should expect it of us . (It would be easier to do this if you did expect it of us !) 當然，回頭向客戶說我們對簡報的異議及建議的確極為困難。然而，我們應該準備多做這類的事，而且，的確，客戶也應期待我們這么做。 （如果客戶期待我們這么做，事情就會變得容易些。） 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，我們認為以下才是標準的實務動作：應先提出廣告中核心創(chuàng)意的前后內容，以及如何發(fā)展核心創(chuàng)意的廣告片構想。我們希望如果能夠做到這點，客戶就比較容易有所反應并下判斷。當然，如果執(zhí)行中缺乏創(chuàng)意，代理商也就比較無法掩飾。 Unilever recognise in today?s environment the urgent importance of creating and maintaining longterm properties. Unilever 已察覺到在今日的環(huán)境中，創(chuàng)造并維持長期資產的急切重要性 。 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。 We,Ogilvy amp。 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，并且相信達到此一目標的方法就是從界定創(chuàng)意構想的意義開始著手。 First, we do not believe that an advertising property is necessarily an idea . In fact , we believe that it is very rare indeed for an idea and a property to be one and the same thing. There are examples of this occurring , but it usually only occurs after years and years of consistent use . 首先，我們并不認為廣告資產就必定等于創(chuàng)意。事實上，我們認為 創(chuàng)意跟資產合而為一的情形的確非常少有。當然也有這樣的例子發(fā) 生，但是這種情形通常只發(fā)生在持續(xù)運用多年之后。 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。但是這樣的情形太稀有了。 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如此推論 — 以為只要擁有資產就必定擁有創(chuàng)意或是長期 campaign 。 Second, while recognising this , we believe we should always strive to develop an advertising property. And in doing this, you should be guided by the new UPGA principles. For the definition of what a property may be is far more widely interpreted in this decument than ever before .(We agree with every word of it.) 其次，雖然有這樣的體認，我們仍相信應該要一直努力不懈地發(fā)展廣告資產。而在發(fā)展的過程中，各位應該以 UPGA 原則為導引。在這份資料當中，對何為資產的定義，較以前任何資料解析得更為精辟深入 。（我們逐字逐句皆同意。） Third, and vitally important, we believe it is necessary to ensure that everyone involved in advertising development in every Unilever pany recognises that Big Ideas are not born, they are grown. Little by little, mercial by mercial, year in year out . 第三，極為重要的一點，我們認為必須確定在每一家 Unilever 公司中參與廣告發(fā)展的每一個人都能體認到大創(chuàng)意并非生來就大，而是逐漸茁壯長大的。一點一滴，一支片子接著一支片子，經年累月積而成的。 The implications of this are enormous . 這項要點的意義是極為深遠的。 It argues that the onus of responsibility on every