VFTL. Episode 5: Mike’s Dad. (AKA Dave Waters).

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Starting out as a creative is tough.
Most days are divided into two parts, first you squeeze out as many ideas as you possibly can, second you try not to give up when your creative director tells you they are all crap. Occasionally you may get a ‘nice’, that will keep you going until maybe two months later when you may get a ‘cool’, even an ‘ok’ buoy the spirits.
Encouragement is crucial.
The first person of any note to say ‘nice’ about one of my ads was Dave Waters, although it wasn’t ‘nice’ it was ‘ ‘kin brill‘. it was written underneath an ad for the Starlight Foundation he’d cut out from Campaign and sent to his old partner Jan Van Mesdag, (who was my boss at the legendary Cromer Titterton).
It was very encouraging, Dave was one of the stars from the best agency of the time GGT.
GGT was not only the best creative agency at the time, it was known to have the toughest regime, weekends there were like Mondays anywhere else,

Also, if you didn’t deliver creatively, either your salary was cut or you were fired.
Dave thrived in this environment.
Dave Trott, the ‘T’ on GGT, called Dave his Roy Keane, saying he was hungrier than anyone, ‘the juniors would do trade ads and if they did well they could steal the bigger tv briefs the seniors were working on and have a crack.
Dave was one of our most senior creatives, he’d do all the big ads and then steal the trade briefs from the juniors, he wanted to do everything.’
Had a great chat with Dave, hope you enjoy it.

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(Dave’s wedding invite.)IMG_1635.JPGpatille-hills-balsam-dave-watersITV PRESS ADSITV ARIELSITV SCREENS

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'It's All Fresher' Morrisons, GGT.jpgMorrison's 'More Reasons' Bag, Dave Waters, GGT.jpg

mickey-cadburys-creme-eggs-ggt'Vera' Cadbury's Creme Eggs, GGT.jpg'Sid' Cadbury's Creme Eggs, GGT.jpg'Percy' Cadbury's Creme Eggs, GGT.jpg'Rambo' Cadbury's Creme Eggs, GGT.jpg

Dave W (above) v Dave T (below).

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'Manual' Daewoo, Dave Waters, DFGW.jpg

This gives me a great excuse to shine a light on Dave’s various stamps and bits of paraphernalia that turn up when you receive one of his letters or packages.Dave Waters - 3 x stamps-01IMG_0065
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An article about Dave and Dave Cook, from his Roy Keane period.Dave Waters & Dave Cook 1-01Dave Waters & Dave Cook 2Press - Dave Trott-01.jpg

BOSS No6: Tim Delaney

 Tim Delaney, Pink Circle-01
DAVE: Why advertising?

TIM: I wanted to be a hotel bell hop boy when I left school at 15.
But when I looked in the newspaper want ads – Junior Opportunities – they only had 2 ad agency messenger jobs. I went up to London and one of them offered me a job.

DAVE: What was your first job in advertising?
TIM: A messenger- in a tiny basement room with 4 others. Quite Dickensian,when I look back.

DAVE: Did you try and get into Colletts, like every other aspiring creative at the time?
TIM: When I started copywriting at 19/20, I went with an art director to see Collett’s Head of Copy called Robert Pethick.
He was charming and said we needed to have more in the book. I remember writing back to him about ‘impetuous youth’.
Later, when I was CD at BBDO, Collets were always poaching our guys, so we sent over a price list of all members of our creative department with different descriptions.
For example ‘Ron Brown – period piece, in need of some refurbishment, good value at £6,000.’ We didn’t hear whether they enjoyed it or not.

DAVE: When did you become aware of the creative revolution going on in New York?
TIM: I used to save up to buy shirts from a place called Austin’s in Shaftesbury Avenue, the only place in London that sold American brand Oxford cloth tab collars and button down shirts.
This was a Mod thing.
But I was certainly plugged into American graphics and ads – I use to buy Life and Look magazines and of course Esquire with all those great covers for my train rides home. In there were ads but also illustration by all kinds of graphic luminaries like Paul Davis and  Jean Paul Goude.
Somehow it all clicked with me.

DAVE: How did you end up at PKL?
TIM: I started writing in a little agency and I quickly became aware that I could write headlines (copy was harder for me). So I picked the 3 best creative agencies – Collett’s, DDB + Y&R – to try and get interviews.
Y&R offered me job immediately so I took it, telling them that I would stay for a little while and then go to a proper creative agency; can you image.
It sounds awful now, but then I just thought I was telling them the truth and what was wrong with that? Anyway, I didn’t like really like Y&R but when an ex-Y&R art director left PKL to go to DDB, he told me they were looking for a new team.
So I got an interview with Peter Mayle at PKL, and he hired me during the interview.
I remember walking down the Kings Road to my flat ,floating with joy. 

DAVE: Wasn’t it full of rebels, rascals and ruffians?
TIM: PKL in London was run by Peter Mayle, who was one of the great bosses – naughty, mischievous, mildly anarchic, a terrific salesman and a very good copywriter and talent spotter.
He was CD and there was a Chairman, (Sir) Nigel Seeley, a fabulous toff, and Dick Hedger who was a suit, a bit of a flogger.
But they had style and we had fun. Peter used to take the Creative Department to lunches at all the great restaurants in Chelsea and Knightsbridge. Mind you we worked from 8 till 11pm most days and almost all weekends.
Prior to my arrival, we heard that Tony Paladino, an Italian NY art director, had a fight with Nigel and broke Nigel’s arm.
But the maddest thing that happened when I was there was when Peter told me to not think of moving (which I wasn’t) because something was going to happen. It did : he fired 8 accounts in one day and cut the agency in half; I was kept on in a tiny creative department,working even longer hours.

DAVE: Did you deal with Julian Koenig, if so what was he like?
TIM: I heard he was in the office but by the time I’d got back from lunch he’d gone. Big pity.

DAVE: George Lois – a first class maniac?
TIM: Peter used to talk about George Lois as a larger than life character but he never came to London.
I knew him more for his Esquire covers, which I now found out he didn’t do – at least not exclusively.

DAVE: And Fred Papert, who was he?
TIM: Papert was the account guy. No one ever talked about him.

DAVE: It all sounds like chaos, do you think chaos is good for creativity?
TIM: It wasn’t chaos in PKL London, it was pretty near perfect working environment. We had great accounts, the department was small but talented and we all g0t on, and Peter made sure everyone knew it was all about the work and us.
New York was probably different ; I wish they had sent me for a couple of weeks.
Tim Delaney, Harrod's'1pm',PKL-01
DAVE: Remember getting your first ad into D&AD?
TIM:
I first went D&AD when it was a lunch time affair at the Hilton in Park Lane.
I was working with John Gorham, probably, the best single graphic designer Britain has produced, and he asked me to write something in a booklet he was designing for Shell agricultural products.
I wrote some very basic words, no idea, and it got in the book.
My name was on it as writer.
My first ad I can’t remember, strangely.
Tim Delaney, 'Shell Report', John Gorham*DAVE: Which writer did you aspire to be at this time?
TIM:
I liked all the writers at Doyle Dane in New York. Their names were even inspiring : Evan Stark, Charles Piccarillo, Ron Rosenfeld, Bob Levenson, John Noble. Plus Ed McCabe of course.
They were like Gods; far away and in no way mortal.

DAVE: You must’ve been one of the first fifty or so at BMP?
TIM: First dozen. They figured out quite quickly that Gabe Massimi wasn’t much of a talent and that John Webster was as near a genius as you will ever find in the genius-free zone that is the ad industry.
So when I joined there were just 4 creative people: John, Alan Orpin (who the account guys used to dismiss as John’s alter ego – implying he wasn’t somehow involved-weird) David Ashwell, the art director who joined from PKL who I went to join there.

DAVE: Did you have a brown, BMP branded mini?
TIM: No, nor did anyone else.
Where did you hear that story.
We were in Goodge Street, just below Cramer Saatchi, a creative consultancy, run by Charlie and Ross Cramer.
BMP's First premises-01
DAVE: Ever work with John Webster?
TIM: Yes I worked on a couple of pitches with him.
We didn’t get the accounts.
But then
 we had a run of 12 straight pitches we didn’t get.  Tim Delaney, Trade Union 'Shut Up',BMP* Tim Delaney, Trade Union 'Stop',BMP*
DAVE: Learn anything from him?
TIM: I learned that looking at American Art Director annuals isn’t about copying, it’s about getting inspiration and learning about structure – how few words are needed in a spot etc.

DAVE: Why leave small, creative BMP to join a big, bad, American BBDO?
TIM: I hated BMP, even though I worked with great people.
I hated the way Planners bombed work,the way they used it to formulate strategy.
We would work our butts off and they would come in the morning as say it was all blown out.
I understand now why that was a good way of refining ideas but at the time it really annoyed me.
It was open plan as well – I hated that.
I like a door and for it to be closed when I’m working.
I met Paul Leeves and Alan Orpin there though – two of the funniest people I have ever worked with.
I went to BBDO (which was small and failing) because PKL reversed into it, and it became PKL but bigger.
So Peter Mayle asked me to go back and be  a Group Head. I was only 25,which seems strangely young now. I wouldn’t dream of giving a 25-year-old that much responsibility nowadays.
Tim Delaney, 'Learning To Be A C.D.', Direction-01
DAVE: What’s the difference between a good creative and a creative director?
TIM: A good creative answers a brief and executes well or hopefully brilliantly.
A Creative Director needs to fulfil a number of roles.
Creatively he needs to set the tone for the ideas that represent the agency’s point of 
difference.
To do this, he has to be good at strategy and later in the process, he has to be a good proponent of the idea in a client forum,that sometimes includes their very senior people.
First and foremost, he needs to have the confidence of his department which I believe means leading by example.
But many great Creative Directors have operated simply by guiding others (
or so I’m told).
Tim Delaney, Dry Clean, 'Spots' BBDO-01DAVE: Why were you, of all people, made Creative Director of BBDO at 27?
TIM: When Peter left to go to New York, he made me Creative Director. I was 27.
Then at 29 they made me Deputy Managing Director for some reason. And then after a Palace coup , I was made MD and was still Creative Director.
The guys in NY said the problem of my age would get better every day.

DAVE: Whose work was influencing you at the time?
TIM: In London, the gold standard  was always Collett’s and whatever campaign John Webster was up to.
Everything David Abbott did was also there to be emulated.

DAVE: I find a lot of advertising is faux funny, (or not funny is another way of putting it), in that you can tell that it is a funny ad by the construction, but nobody actually laughs.
The Sony Radio campaign is genuinely funny.
I’ve never understood why more agencies don’t use proven funny men to help create the content of ads, rather than just read the words of unfunny admen.
They know funny.

TIM: When I worked on the Sony account, it was very personal to me.
I had pitched and won it with my art director and I wrote a lot for the campaign
(although not all the best stuff).
When we decided on doing radio, I knew that comedians would write way better than me or any advertising writer because radio is a very different form.
So I simply asked the funniest man in TV and Radio to write a campaign; and that’s how John Cleese came to write what I think it still one of the funniest and most effective radio campaigns.
We worked together – him as writer, me as producer/ sounding board for 9 years. In the last few years , he let me write and he would rewrite. A lovely man.

DAVE: It was obviously going well at BBDO, why leave?
TIM: It was a roller coaster at BBDO. The work was always good, and quite often great. But BBDO needed a bigger presence in the world’s third largest advertising market.
So I set about lining up potential agencies for NY to buy : Saatchi’s, CDP, BMP (which went close) and I realised that, by definition,  I was not really going to be part of what I was setting up, which was fine but I had to start thinking about my life and not just helping the BBDO people in NY, who I liked,by the way.

DAVE: Wasn’t AMV a BBDO target at the time?
TIM: When David first went over to form Abbott Mead Vickers, I think it was tougher going financially than he realised.
So they sought a partner. BBDO, myself and the MD, had talks but they chose to go with Scali McCabe Sloves in NY, which I think was a very good fit.
Later, of course, they were bought by Omnicom and became part of BBDO.

Tim Delaney, Zanussi 'Plug', BBDODAVE: How did you end up advising Prime Minister Jim Callaghan in 1978?
TIM: I had always wanted to help the Labour Party.
Then I bumped into Edward Booth Clibborn in Paris when he was plainly having an illicit weekend with someone other than his wife and to ease the embarrassment he started talking about his contacts in the Labour party publicity department.
It went from there.
I ended up working for 18 months on the campaign ( which famously got postponed from Autumn 1978 to Spring 1979) and then during the actual 5 week campaign I was in No 10 most nights of the week working with Tom McNally, David Lipsey and Roger Carroll.
Before they put gates up, I just used to park my second-hand Porsche outside No 10.
The campaign was an amazing experience; I had to write 4 10 minute Party Political Broadcasts and shoot them while I was running an agency.
Also, there were amazing dirty tricks going on during the campaign but mainly within the governing Labour party.
Despite that, we did well from the campaign point of view .
The Sunday before the election Thursday, Labour was just ahead from being 20 points down. But after the Tories spent a fortune in the last week, we lost by 32 seats. I tell people I’m responsible for Margaret Thatcher getting into Downing Street.

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DAVE: Did you know Ron Leagas before starting an agency with him?
TIM:
At BBDO, I decided I shouldn’t do be both MD + CD, so I went looking for an MD.
He was a candidate.

DAVE: Did you start with any business?
TIM:  No. I was MD of a business, so I felt I couldn’t take anything from that business.
In the event Sony fired BBDO after hearing that I was leaving and asked us to pitch for a part of their business. I said ‘No – it should be all or nothing.’
I didn’t believe the brand should have different voices from different agencies.
We got our first piece of business on the Friday of the first week.
We ran an ad for the agency that week and it got us another piece really quickly but it also got us into a law suit as we attacked another agency’s work.

Tim Delaney- Endell Street-01DAVE: ‘We’re going to rip business out of big agencies like tearing meat off a carcus.” I bet that made you popular?
TIM: Did I say that? It sounds good, I wonder where I found the nerve to say that.
Although I have always thought that big agencies were essentially lazy and not very talented. And we started with no accounts so we had to be confident of our ability and display a desire to handle big accounts not tiddlers.
Tim Delaney 'Riches?%22 Campaign-01

DAVE: I remember at college, not an advertising  college but a regular college for civilians, people were quoting the ‘Phirrips’ ad.
Did you know that script would ‘blow up’?
TIM: Utilising the same attitude as I had employed on Sony, we asked two of the funniest people on TV at the time to do some  scripts and recordings for our pitch for Philips.
It is a fantastic spot and the beginning of a great relationship with Mel and Griff, not just on this projects but on others.
We did a great job for Philips but they seem almost congenitally unable to let agencies tell what a great
 company they are.

Tim Delaney - Phillips Radio 'Phirrips'-01
(The whole campaign can be found here:  http://heywhipple.com/radio/  )Tim Delaney- Phillips Radio 'No Point'-01
Tim Delaney, Phillips 'Deidre'*Tim Delaney, 'Next Office'' D&AD*Scan_06822DAVE: Ron Leagas is out, why not chisel the blighter’s name off the door?
TIM: I believe agencies are brands and when you mess around with names on the door you confuse people, clients, with a kind of flightiness.
Our agency is commonly known as Leagas to this day and I’m cool with that.
Tim Delaney Article 'Direction', Early 80's-01Harvey Nichols, 'All England', Leagas DelaneyHarvey Nichols, 'Dhurries', Leagas DelaneyTim Delaney- Day By Day Article-01DAVE: Here’s one of your weeks in the eighties. Changed much?
TIM:   Life is pretty much the same except that almost all our client meetings and shoots involve travel. Plus we have offices Hamburg, I want to get to those as often as time allows.Tim Delaney, Tetley Bitter 'Blood' Tim Delaney, Tetley Bitter 'Maternity'*
Tim Delaney, Tetley Bitter 'Nouvelle'
DAVE: So by 1990, you’ve really got a handle on this firing malarky, you were even firing people who didn’t work for you.
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TIM: Edward Booth-Clibborn was Chairman of D&AD but was also running his publishing business from their offices.
It was a mess and there was all kinds of funny business going on.
We had a whistle-blower who our lawyers asked to sign an affidavit about the misdemeanours at D&AD and that left us no choice but to suspend the Chairman and the Financial Director.
 

Tim Delaney - Timberland 'Eyes Are Frozen'-01

Tim Delaney, Timberland 'Boot'Tim Delaney, Timberland 'Exposing'Tim Delaney, Timberland 'Non'Tim Delaney, Timberland 'Wagging Tongues'Tim Delaney, Timberland 'We stole'DAVE: You’ve been writing ads for that posh shop in
Knightsbridge in the sixties, seventies, eighties, nineties and noughties.
When are they coming back?

TIM: Clients create the advertising they think is right for their brand.
I cannot spend time lamenting what they do after they have moved on.
For Harrods , I think we did great work for 14 years.
What they do now is their business.
DAVE: Exactly, rubbish isn’t it?
Tim Delaney, Harrod's 'Come On' Tim Delaney, Harrod's 'Decorate' Tim Delaney, Harrod's 'Gives' Tim Delaney, Harrod's 'Nibs' Tim Delaney, Harrod's 'Santa'
Harrods, The Sale - Cutlery, Leagas Delaney
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Leagas Delaney Building-01
DAVE: I’ve read that you don’t believe ‘Advertising is something you can pass on to someone, it’s intuitive, a gift, like scoring goals in football’?
TIM: Being good at most things in life requires innate talent allied to effort and ambition. Messi, Suarez, Neymar : they probably all have brothers who are not  great footballers, however hard they train.
Advertising is like that. You either have it or you don’t. It’s why so many people pretend to have it – most account people pretend to understand how communications work; in my experience, not many actually do.

Linguaphone, 'Are you a man', Leagas DelaneyLinguaphone, 'The world is', Leagas DelaneyLinguaphone, 'Travel is supposed', Leagas Delaney
DAVE: Unlike a lot of advertising agencies you actually run advertising.
TIM:
 In a revolution, everyone has to be a revolutionary otherwise you get your head chopped off. We run ads because the objectives of our clients’ comms programmes requires us to.
What you are referring to is the dumbing down of mere advertising by digital agencies who have little knowledge of brands and even less talent at persuading consumers of anything.
As Ishiguro the writer said recently, ‘Machines (technology) can work; it can’t imagine’. Clients respect 
ideas; its agencies and digital ones in particular who have lost – or never gained – respect for them.
DAVE: Exactly, Ishiguro, I was gonna quote him, but you beat me to it.Leagas Delaney 'Saatchi' Ad'Tim Delaney, 'Woolies ad'-01Tim Delaney, 'Front page', Hose ad-01Tim Delaney 'Butllin's'-01Leagas Delaney 'Chasing' Ad'Leagas Delaney 'Dated' Ad'Leagas Delaney 'Lescarbeau' Ad'Leagas Delaney 'Nationwide house ad' Ad'
DAVE: You pitched unsuccessfully for The Guardian, so ran an ad calling them chicken. A sure way to guarantee you never work with that client again.
But they appointed you soon after?
TIM: 
We knew we deserved to win the pitch.
The editor even said so.
But they fell for a ridiculous visual gag which ran out of steam as gags always do, and they came back to us for the substance in the campaign we made for them.
They told us not to run the ad, implying that we wouldn’t get a chance at the business again, but I did anyway.
They had foregone their right to tell us what to do with what were in effect our ads.
Leagas Delaney 'Guardian ran and ran' Ad'GuardianTim Delaney, Guardian 'Hotel'-01Tim Delaney, Guardian 'Needle'-01Tim Delaney, Guardian 'Newspapers'-01
DAVE: How did you end up being owned by a rival agency, Abbott Mead Vickers?
TIM: I decided that Leagas was not right. A nice guy but he simply wasn’t in the business for the reasons I was.
Trouble was, we were a partnership which means that you can’t fire someone, you have to break up the partnership.
So I had to roll the partnership into a limited company.
By the time I had done that, Leagas Delaney was losing money.
So I needed someone to pay Leagas to exit and put us back on an even keel again.
I could not have wished for better partners than David Abbott and Peter Mead.
Scan_0333 Scan_0328 Scan_0347Tim Delaney - Nationwide 'Richest'-01Nationwide_0003_DearMissDixon Nationwide_EncourageYouToSpend Money_0004Tim Delaney, Nationwide 'Banks Must Like Small Business'-01Tim Delaney, Nationwide 'Out Of My High Interest'-01
Tim Delaney, Nationwide 'Life Doesn't Give You 90 days Notice'-01DAVE: Did you collaborate with David Abbott much in those years?
TIM: David and I hardly met let alone collaborate.
He was respectful of our integrity which was repaid in the way we ran the company.
We were flat-out busy all the time so there was very little time for socialising or working on projects together.

DAVE: Although the art directors and Head of Arts have changed over the years, the work has always had a certain sophistication, or appreciation of style.
TIM: That must be down to my incredible aesthetic sensibility!!
Seriously, all you have to do is look at Helmut Krone’s work to know that populist campaigns should have a differentiating look and feel and that people quite easily distinguish between something crafted and thought through and sloppy, slap dash art direction.
Apple designs are beautiful and populist – that’s the short answer to your question.
If it was a question.
Ordnance Survey, 'Ever heard', Leagas DelaneyOrdnance Survey, 'John McAdam', Leagas Delaney
Ordnance Survey, 'Warning', Leagas DelaneyOrdnance Survey, 'Still There', Leagas DelaneyOrdnance Survey, 'Stuck here', Leagas DelaneyOrdnance Survey, 'Walk away', Leagas Delaney
DAVE: Don’t you ever get sick of writing all those tiny little words that nobody reads?
TIM:
 I have always believed that if you write like you want people to read it, then people will do so.
Even the smallest piece of writing in the smallest leaflet.
What’s the alternative : write rubbish knowing believing that no one reads it?
That’s a kind of nihilism – although I’m pretty sure most so-called writers think that way nowadays.


DAVE: ‘I don’t like advertising, I just like ads’. Why?
TIM:
 
Advertising as an industry is full of over blown, egotistical, opinionated weirdos. This is because no one knows exactly how it works.
So in the land of the blind etc,etc, a big character or personality can pretend to know the secret of how to win a piece of business, which slogan will catch on, what a client will buy. And so on.
But ads, they are crafted pieces of expression which have to be thought about, nurtured, learnt from.
It’s only the same as saying Hollywood is one thing, making a film is another.
porschePRINT

DAVE: Something ‘chemical’ seemed to happen when you got together with Steve Dunn, you just churned out endless great campaigns?
TIM: Steve and I quickly and tacitly understood that we complemented each other.
We both loved what we did for a living ( although Steve did go off it for a while) and we both had the same idea of what constituted an idea.
We are both competitive too; we liked to win. Not so much awards, as beating a problem. You’re right though, it was a 
strangely productive relationship.
Some days we would 3 campaigns, all of them pretty good.

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AVE: I remember when I worked with you there was a cupboard on the top floor stacked with digital people. 1995. Possibly the first in-house digital department?
TIM: Certainly we were very early adopting and adapting to digital.
We had a separate digital company  in 1996 – Digital Partners – which is way before Martin Sorrell knew how to spell the word;  kind of ironic now as people immediately think because we care about the craft of our work, particularly print, we can’t possibly ‘get’ digital .
Fortunately our clients know how good we are at providing digital ecosystems.

Tim Delaney, adidas 'We Knew Then' 1 Tim Delaney, adidas 'We Knew Then' 3 Tim Delaney, adidas 'We Knew Then' 4

DAVE: You might have gathered from this site that I’ve kept a lot of stuff; rejected ads for The Economist, alternative Nike layouts and pitches we lost at CDD, (they alone take up a lot of space),  but I didn’t take any proofs for the Patek Phillippe ads I did.
At the time, I thought ‘they’re ok’, but over time they’ve become a benchmark for luxury advertising. Is it the sheer consistency of message?
TIM: It’s not just the consistency of the campaign that makes it a benchmark for all luxury goods campaigns.

It started out quietly with the original thought of ‘Begin Your Own Tradition’ which gave rise to the longer line now ‘ You never actually own…etc’.  
So it took some time to get settled and then really never looked back.
Over the years we have updated the look and feel and the photographers.
It’s a wonderful campaign which reflects the values of the family that owns the brands and the products they create. Perfect harmony.PATEK PIANO small shad
Tim Delaney - Pictet 'Work'-01 Pictet_3 Pictet_2
Dave - Time Delaney
DAVE: I find that people who haven’t worked with you seem to have a totally wrong impression of you –  some kind of lanky, serious-minded maniac who fires people on a daily basis, I worked with you for five years and  never found you to be lanky.
TIM: I am lanky.

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Nb. If that’s not enough reading, here’s a bit more.Tim Delaney, Article-01
Tim Delaney 'Basics'-01

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Andy McLeod Interview.

 DAVE: Why advertising?
ANDY: I was quite quick tongued, bright at school, without being very academically gifted or driven.
I cared about ‘stuff’ in general, zeitgeisty stuff; trends, tribes, what was cool what wasn’t, what was funny what wasn’t.
I liked art and English at school and not much else.
Got not very good A-level grades, which led me to Bristol Polytechnic to do a two year course in Business studies with advertising.
The advertising bit of it was 1 hour a week with a guy who had obviously worked at a printers or something so it was all about type and copper rollers and stuff like that, which didn’t seem very relevant but did leave me thinking about the creative side of advertising.
Also I met a mate on the same course who kept talking about how he was going to leave the course and do a D&AD course – Davie Hieatt, who remains a top bloke.

 DAVE: What did Hounslow College teach you?
ANDY:
So Hounslow was at the time considered the second best (out of two) courses teaching you how to get an advertising portfolio together.
I did a copy test thing for Watford (no.1) – do an anti smoking storyboard, how would you describe toast to a martian, that kind of thing – and enjoyed it.
Evidently more than they did because I didn’t get in.

Which actually made me realize I REALLY had wanted to get in, and was left a bit stung by it. My first real taste of putting your soul out there for others to criticize which is what its all about after all.
So I got into Hounslow. Where Dave Morris was busy making sure his course became the number one. He made a lot of us out and about in the industry.

 DAVE: You met your partner of the next 20 years there. Love at first sight?
ANDY: Not really no, but we kind got pushed together by dint of the usual merry go round of copywriter art director couplings and recouplings.
But after a couple of projects it felt right. We both meant it.

DAVE: Which agencies didn’t you get jobs at?
ANDY: All the best ones. But we learnt from very good people when we were taking our book round them.

 DAVE: If you’d had a magic genie who could’ve granted you a wish to have a job in any agency of your choice, where would you have chosen?
ANDY: Well initially GGT; they were our Shangri La, the holy grail. Creatives at GGT in ’87, ’88 were like Gods to us eager students, or premier league footballers with razor sharp brains. Walking around in socks eating toast being brilliant.

DAVE: Who did you want to be; Trott? Webster? The spiky haired one from Kajagoogoo?
ANDY: I wanted to be any of the GGT creatives, or Chris Palmer, Mark Denton, or Tom Carty or Walter Campbell.
We were in awe of them, but they took time in their evenings to slag our book off when they could’ve done something more interesting.
We learnt so much from them.

DAVE: You’re offered a job at a new third wave agency Butterfield Day Devito Hockney.
ANDY: Kind of.
DAVE: There’s a previso.  You’re told ‘You’re one of two teams we’re taking on, but we’ll let go of the second best one in three months’.
A pressurised start?
ANDY: Yes, but brilliant. And no harder than getting anywhere near an agency in the year or so before; that taking your book round, changing it, going back, getting rebuffed, going again- that makes you or breaks you, doesn’t it? Even before that, 6 months into the college course, you knew the casualties would be heavy, that most of the class were going to be crucified out there.Andy McLeod, UviStat 'Children' BDDH Andy McLeod, UviStat 'Woman' BDDH.jpg
DAVE: Derek Day trained some great people. What did he teach you?
ANDY: He taught me intelligent writing, thoughtful thoughts, and go go go again.Andy McLeod, Honda 'Measure' BDDH-01Andy McLeod, IPA 'Cards', BDDH-01Andy McLeod, ITV 'Doomed' Radio. BDDH-01Andy McLeod, Thames 'Darts', BDDH-01DAVE: Why leave for DFGW?
ANDY: We loved Dave Waters and Paul Grubb, who had gone from GGT to start DFGW. We had idolised them since those days, and couldn’t resist.

DAVE: What was the difference between BDDH and DFGW?
ANDY: We learnt how to write ads at BDDH, we learnt about the job, the whole thing.
At DFGW we learnt how to do TV.

DAVE: What did you learn from my Emirates stadium neighbour Dave Waters?
ANDY: How fun and silliness are absolutely viable tools to make powerful advertising.
The economic value of fun and sillines.

DAVE: What did you learn from Grubby?
ANDY: Endlines.
Short form writing.
Grubby was known as the king of the end line.
I can’t think of an accolade I’d rather have.

Andy McLeod, 'Taxi'
DAVE: You reluctantly leave DFGW to go to a better agency, BMP/DDB?
ANDY: Reluctant because we loved working for Dave and Grubby.
But BMP was premier league, with a heritage of great work.
And we had to do it.
Andy McCleod, Schweppes 'Non', BMP:DDB.DAVE: Pre-match nerves on your first day?
ANDY: Of course. They had a strong squad.

DAVE: I joined BMP/DDB a few months later and my leaving card from Leagas Delaney said ‘Goodbye’ on the outside, and on the inside  ‘…to awards’.
At the time BMP/DDB was seen as quality, but slow and research dominated.
How did you find it?
ANDY: That probably says more about Leagas Delaney than anything else.
I’m sure you remember every single (admittedly brilliant) press ad that came out of Leagas. And there were thousands of them.
But what people in the real world remember is Cresta bear, ‘Watch out there’s a Humphrey about’, the Honey Monster.
I seem to remember Webster saying no research had ever made his ads worse, only better.Andy McLeod, London Trnaspot 'Out Of Your way', BMP:DDB Andy McLeod, London Trnaspot 'Eros', BMP:DDB
DAVE:  You told me recently that you were only there two years.
That’s astonishing, you did a mountain of work?
ANDY: Thanks. I think it was 2.5 years. But not sure._522_5_b4473ff856414235d1b18c35c9ded53b Andy McLeod, Labour 'Laurel & Hardy'DAVE: Did you work with John Webster?
ANDY: Yes, in our second week we presented a Walkers TV spot to him. Webster had started the Gary Lineker campaign a year or so before I think?
We wrote one which had Cantona doing his Crystal Palace kung fu kick (he’d executed it that season), but it was on a crisp-eating Linekar in the crowd.
I thought is was brilliant. When I’d finished reading it to him, he laughed (so far so good), smiled broadly (yes, yes), and said “it’s not just wrong, it’s a thousand percent wrong”.
We walked back down the long corridor and nearly kept walking back to DFGW.



DAVE: Everyone is a bit anxious until they ‘get something good out’, What piece of work settled you in at BMP?
ANDY: We did a Unison ad about public service cuts. Something like “come to a demonstration in the park, just past the old school, by the closed down hospital”.
And we did a party political broadcast for the labour party. John Major’s Pork Pie factory.
And a campaign on the light boards at piccadilly circus; watch out Ken Clarke operating in this area.Andy McLeod, Labour 'Wallets' Piccadilly Circus, BMP:DDB
DAVE: You managed to get the Simpsons to appear in a Doritos ad, ‘Doh!-ritos’, That should’ve been great shouldn’t it?
ANDY: Yes it could’ve been.
Things don’t always go brilliantly though. I think the core idea of Doh!ritos was a good one. Ambitious. But, you know, it just ended up being a bit so-so.
One thing I remember though is it was based around Homer in the nuclear power plant, and we only got clearance from the BACC if we agreed to stop running the ad if there was a nuclear war or a core meltdown in the UK. Erm, yeah, ok.

DAVE: You’re a bit like Marmite Andy.
Twenty years ago that would’ve meant you’re black and gooey, but thanks to you and Rich, people know it means polarising.
Was there resistance to the idea in the beginning?
ANDY: The brief was nothing to do with that, it was still all about my mate Marmite and kids and soldiers of toast and growing up and stuff.
But Rich loved it and I hated it, and it just seemed to us the most polarizing thing on the planet, and had to be useful as a property.
My bravest ever client.
Skoda U.K. were brave, but this lady was something else, hats off to her.

We launched with two 30 second ads; one was ‘my mate marmite’ to that tune, with people loving it, and the jar at the end with the “my mate” logo.
The other was ’I hate marmite’ sung to that tune, with people spitting it out and stuff, and the jar at the end with an “I hate” logo.
She cried on the shoot for the second one, but still had the balls to do it.
I hope she’s as proud of starting that ball rolling as I am.

And no, Dave, I am not like Marmite; everyone loves me.Andy McCleod, Marmite 'Honk if' 48, BMP:DDB. Andy McCleod, Marmite 'You'll honk' 48, BMP:DDB.DAVE: I’ve always thought it was a shame the ‘Use your vote’ campaign didn’t have major backing to run up and down the country, it’s one of the few political campaigns that makes me want to vote.
ANDY: Thanks.

Andy McLeod1490-01 Andy McLeod14ppp-01 Andy McLeod, M-01

DAVE: You reluctantly set up Fallon?
ANDY: Yes, at BMP we got a black pencil (back when they meant quite a fucking lot not absolutely fuck all like now) for a Doritos idents campaign.
And Tony Cox, our creative director, put his head round the office door and said, smiling “what you going to do next year boys?”, then walked out.

DAVE: Scary?
ANDY: Scary but the best decision we ever made. And it wasn’t that we were reluctant, that’s a bit misleading. It’s just that leaving your hardly fought for comfort zone thing, you know? The deep sigh when you know you have to keep moving on to the next thing. It’s not reluctance, it’s just the realisation that there is never time to bask, no wallowing. Clean your kit then straight back to the battle.
Starting the London version of Fallon McElligott was a huge leap of faith for all of us; Michael Wall and Robert Senior knew each other very well, and they knew Laurence Green a bit. Rich and I had never met any of them.
It could have been a disaster.
In fact as far as we could tell lots of people thought it would be.
The usual industry naysayers gave us about 6 months I think.

DAVE: Were Fallon McElligott a big influence?
ANDY: They were great. Really supportive, without being too constraining; they let us make our mistakes and learn by them.
Pat Fallon was a real mentor to all of us.

DAVE: How did you work in the same room as Rich for twenty years?
Let me rephrase that; how did you manage to work with the same creative partner for twenty years?
ANDY: We’d have killed each other apart from the fact that we loved the work we kept producing together.

Andy McLeod, 'Life After Divorce' Campaign article-01
Andy McLeod, Timex 'We've checked', Fallon-01
DAVE: When I set up DHM our schtick was all about truth, ‘truth cuts through’, ‘truth endures’, ‘it’s the age of truth’.
Compiling your stuff here I can see truth was equally important to Fallon London; Skoda, Umbro, Ben & Jerry’s etc.
But, perhaps sensibly, you didn’t bang on about it?
ANDY: We probably did bang on about, I think we are all told we have to have a thing by campaign etc, and we all walk around talking in sound bites for the next ten years.Andy McLeod, Umbro 'Sister', Fallon-01 Andy McLeod, Umbro 'We don't make', Fallon-01Andy McLeod, Skoda '2 logos', Fallon-01

 Skoda_’Motor_Show’

Andy McLeod, Fallon 'Skoda'
DAVE: You lucked out by landing the planet’s best Head of TV very early on? (It says here)
ANDY: Yes we did, she would talk about interesting new directors, and how to make work better, not about where the new place for lunch was.
She was also the world’s greatest Richard and Andy wrangler.

Lee_Jeans_’Bottoms’

DAVE: What did you look for in the scripts and scraps of paper teams handed over for you to creative direct?
ANDY: A truth, a difference, an ambition.

DAVE: Your house is on fire, you can only save one of your ads. Which is it?
ANDY:
Fuck the ads, let’s go.

DAVE: Okaaaay, what’s your favourite ad you’ve done?
ANDY: I’m very proud of Marmite “love it or hate it” being in the country’s vernacular.

DAVE: Your work is very direct. Has ‘direct’ gone out of fashion?
ANDY: Good has gone out of fashion.

DAVE: Which ads make you get all irritable with envy?
ANDY: The ones that are better than the programmes they’re shown in.

DAVE: What’s been the biggest surprise since you switched to directing?
ANDY: I didn’t think it would be quite so different, and in a way it isn’t – everyone’s looking at the same piece of paper albeit from different sides – but going from the big Fallon family, with lots of structure and back up, to the far more exposed world of little old self employed me waiting for a nice script was quite a jolt. I love it obviously, but the pace is very different.

DAVE: Who influences your work today?
ANDY: Everyone and everything. It can’t be about this style or that method. It has to be the right thing for the project in hand. I don’t want a house style, I want whatever is perfect for the idea in front of me, to make the spot as great for that particular idea as it can be. Really I’m just doing what I always did; it used to be all about trying to write absolutely the exact right idea for a brand. And now it’s about trying to direct in absolutely the exact right way for a particular script.

 

 

Jeremy Sinclair Interview

Jeremy Sinclair, Campaign Press Chairman's Foreward-01
Occasionally, very occasionally, a client will ask me advice on how they should judge their advertising.
It’s easy to tell a terrible ad from a great one, but it’s rare to have such a big gap between ideas.
A more likely comparison be trying to assess average against quite good?
good against great?
Some creative people will advise that ‘If it’s right, you’ll feel it in your gut.’
Sometimes true, but not really helpful.

I tend to give them a copy of the page above.
It lays down a more objective way of judging ideas of advertising.
It was written by the Chairman of the Campaign Press Jury in 1980, Jeremy Sinclair.
Just over a decade later, somebody at Saatchi’s smuggled me out a U-Matic* a talk he gave about tv advertising.
(*A U-Matic was a kind of  real-world, 3D version of a Quicktime file that came in a box about the size of  a box of Frosties.)



Jeremy Sinclair, Campaign Press biog, 1982 86923-01

DAVE: Why would a young gentleman from the Sorbonne in Paris go to Watford to learn how to write adverts?
JEREMY: I was 21/22 and, thinking it was time to a get a job, bought a copy of the London Times and wrote to every advertiser.
The idea was to test my letter writing. Most were companies looking for employees.
One was for Watford College of Art, for their forthcoming course on copywriting.
I duly wrote to them, a similar letter sent to all the others, words to the effect of whatever it was they were looking for, I was it.

I went off to Algiers for a couple of months or so, as you do, and came back to find lots of replies, mostly polite rejections. The Watford one said, please do the enclosed Test. There was a second letter from them saying they hadn’t received my Test but would I come for an interview? The date offered was the following day.
I borrowed the airfare from my mother, did the Test on the plane and presented myself at Watford College, Hempstead Road, Herts.
The two interviewing tutors went to great pains to explain they only took as many students as they felt could find jobs.
The were 100+ applicants and 11 places. They’d let me know.

The next day they did. I was in.

DAVE: What did Watford teach you?
JEREMY: Lots of things. What was expected of copywriters, how to write an ad, what a logo was, what a double page spread was, what account men were, how to type a script (video on the left, audio on the right) .
Remember, I knew nothing.
Possibly the most important thing they introduced us to were the D&AD annuals. I remember seeing a Christian Aid ad which showed a fat sausage-fly and had the headline: ‘Fresh food is now flying in to Biafra’.hristian Aid - 'Fresh Food', DDB-01
I thought I can do that.
Also, coming from Watford, you could get a meeting at most agencies.

DAVE: Which agencies rejected you and your cumbersome portfolio when you were released from Watford?
JEREMY: I was turned down by a small agency who specialised in travel. They handled the Channel Islands. The reason for rejection was they didn’t think I would stay.
Another chap on the course got it.
That was the only agency I went where they had a known vacancy.
Otherwise the idea was to see as many people as possible hoping that it would lead somewhere.
My portfolio wasn’t cumbersome. It was an A4 sized book containing about 30 plastic sheets that you slipped your copy between.
Not like now, no pictures, just words describing the picture and then the headline and the copy.

DAVE: Why Cramer Saatchi? Why not join a proper agency?
JEREMY: It was written : Cramersaatchi. They did great work, they were recommended by Dan Levin of Pritchard Wood who knew Charles.

DAVE:
What was the company you joined like? 

JEREMY: There were four people + a secretary.
Ross & Charles, John H & Mike C + Gail. The offices were two rooms above the café on the corner of Tottenham Court Road and Goodge Street. ( The same building housed Michael Peters, Boase Massimi Pollitt and David Putnam)

DAVE: Why did they hire you?
JEREMY: I wrote a letter which said:
‘Dear Sir,
I am writing for a job. I want to write for a living.
Even if you haven’t a vacancy, can I come and show my work?
Yours’, etc

DAVE:  I read somewhere that Charles Saatchi especially liked an ad from your book for a  slimming product, a first person story with the headline: ‘Two men offered me their seats on the bus. I needed them both.’ 
JEREMY: It is true, that was the one he liked.

DAVE: Do you remember your first Cramersaatchi brief?
JEREMY:
He and Ross were working for a Dutch department store whose name escapes me, but the idea was that shoes were in the basement, then trousers and skirts, next floor were tops, well you get the idea.
So as a test, they said, do us an ad. I came back with my effort and it was one of the thrills of my life to see the legendary Ross Cramer drawing it up.
The ad? Right hand page : Big headline : How can you find what you want when it’s all over the shop? Left hand page: Picture of a man or a woman from behind scratching their head looking at a very long store guide board.

Jeremy Sinclair 'Video Casting'-01DAVE: What did Ross Cramer bring to the party?
JEREMY:
Ross was talented, irreverent and fun. If Charles was the ambition, Ross was the humour.

DAVE: What was your first impression of Charles?
JEREMY: I took one look and thought to myself, he’ll do.
While Maurice appreciates the theory, Charles is only interested in the practice.
He only ever wanted to know if the work was good. Nothing else mattered.
Charles & Maurice Satchi Laughing
DAVE: You worked with Sir John there?
JEREMY: John, as we knew him in those days, worked primarily with Mike Coughlan then Chris Martin.
The only thing I specifically remember working on with John was the HEC antismoking campaign.
However he was supportive and encouraging to Bill Atherton (my a/d) and me.
He had been in the business for years, won awards and we were as green as can be.
Jeremy Sinclair, 'Ronnie Biggs', Schick, Saatchi's-01
DAVE: Do you remember your first ad that ran?
JEREMY: I think it was for Island Records, but it was certainly no great shakes.
Or it was for the HEC : What happened to Kilmarnock’s children’s teeth when we put fluoride in the water supply?

DAVE: John Knight was an incredibly influential but underrated Art Director, did you ever work with him?
JEREMY: He worked for us for a while. A lovely gentle soul.
Jeremy Sinclair, 'Jaffa - Before', Saatchi's-01Jeremy Sinclair 'Prunes'-01Jeremy Sinclair - Enjoy-01
DAVE: In his book, John Hegarty says he saw your rough of the ‘Pregnant Man’ ad before it was presented it to Charlie, then went straight to his office and threw his own work on that brief straight into the bin.
Were you as confident Charles would buy it?
JEREMY: I didn’t know. I did worry what people would make of it. This was 1969, and it was a strange picture.Jeremt Sinclair 'Pregnant Man'-01
DAVE: Do you think the tone of voice used on the Health Education Council could be effective today? It’s like a caring, but stern, parent.
(Today, the Government are seem to want to be your best friend; ‘Hey You, Join the let’s not get females pregnant gang! #Iheartnotimpregnatingfemales’).
JEREMY: I hope we didn’t sound too stern.
More often than not, we asked questions.
For the Family Planning Association ‘What are your chances of getting pregnant tonight? ‘For the antismoking ‘Is it fair to force your baby to smoke cigarettes?’
Family Planning again ‘Would you be more careful if it was you that got pregnant?’

Saatchi & Saatchi Creative Dept:Sunday Times
DAVE: A picture of the Creative Department turned up in The Sunday Times with a story about transfer fees.
Did that make you feel great or a bit embarrassed?
JEREMY: Nothing really. It was just Charles looking for a headline.

DAVE: The idea behind Cramer Saatchi was to charge a fortune producing ‘creative’ work and awards for big non-creative agencies. Why the change in direction?
JEREMY: Becoming an agency was a natural progression. Clients were coming to us direct. Ross didn’t fancy it, so Maurice joined in.Jeremy Sinclair, 'HEC - Stiff Drink', Saatchi's-01
DAVE: So, are there any ads in D&AD that were created by you but credited to someone else?
JEREMY: Occasionally we entered ads into D&AD that no-one was prepared to own up to.
I think we invented two characters, Don DiLauro and Jake Stouer.
One ad was ‘Has your get up- and -go got up and gone?’ Charles’ I think. Later I entered some work under the name J Rome to avoid conflict problems – We handled both Allied Breweries and Scottish & Newcastle. Jeremy Sinclair 'Nose Smoke'-01-01
DAVE: Who did you want to be; Ed McCabe? Tony Brignull? Truman Capote?
JEREMY: All wonderful, but not what I wanted to be.

DAVE: I imagine Charles wasn’t an arm around the shoulder type of boss?
JEREMY: No, thank God.
Cosmopolitan First U.K. issue: launchScreen Shot 2015-02-16 at 17.33.52Jeremy Sinclair - Husband-01Jeremy Sinclair - k86923-01DAVE: Why were you made Creative Director?
JEREMY: Bill A and I were about to leave to join Webster at BMP.
Charles said, stay and when John goes I’ll make you creative director.
We stayed and he did.

DAVE: Who was your first hiring?
JEREMY: I don’t want to be rude to anyone but it took me a while to get the hang of hiring.
My early choices were hard work.
Then I discovered Ron Mather from FCB and Andrew Rutherford from Benton and Bowles. The agency and my life were instantly better.

DAVE: You were the first Creative Director to pay a writer £100k.
Was that a publicity stunt or was it based purely on Geoff Seymour’s talent?

Geoffery Seymour
JEREMY: A bit of both. We were winning clients at breakneck speed. British Airways had landed and we were short of senior talent.
Seymour made good copy and a good headline.

Jeremy Sinclair - Jury Pic-01
DAVE: Did Charles still write?
JEREMY: Yes, Charles wrote occasionally – on the Tories and of course, the Silk Cut campaign which he invented.Paul Arden, Silk Cut 'Slit'
 DAVE: I’ve heard that Charles had the idea for Silk Cut at CDP?
JEREMY: If that is so ,I never knew it. I don’t know if the painting that inspired him had been done by then.
Jeremy Sinclair 'Baby Smoking'-01Jeremy Sinclair, 'HEC, 'Pregnant Smoking', Saatchi's-01Jeremy Sinclair - Octopus-01Jeremy Sinclair - Car-01
DAVE: From the outside it appears that you stopped writing very early?
JEREMY: That’s the downside of being Creative Director. But there was always the Tories to keep you at it.
Jeremy Sinclair - cold-01Jeremy Sinclair - TR7, Saatchi-01
DAVE: Paul Arden is the best Art Director. Full stop.
His work just doesn’t date.
Was he your hiring?
JEREMY: I was interviewing a writer called John McGrath and he asked if he could bring his art director.
Paul Arden 'Direction Cover'-01
DAVE: He had the reputation of being crazy, perfectionist, completely out of ? You must’ve been the only guy in the world that would make him ECD, but it worked brilliantly?
Paul Arden V&A 'Objet' Paul Arden, Avedon 'Norman Parkinson'-01 Paul Arden Brook Street 'Pencil'-01 Paul Arden, Daily Mail, Paris' In-Situ-01JEREMY: You know why? He was the only one who, when he showed you work, said ‘What’s wrong with this?’ Everyone else wanted you to say how great their stuff was.

Jeremy Sinclair, 'The Mail, 'Impersonator', Saatchi's-01 copyJeremy Sinclair - 'IMB - 'Spoons', Saatchi-01Jeremy Sinclair 'Investors Chronicle'-01Jeremy Sinclair, 'Triumph -Magistrates', Saatchi's-01
Jeremy Sinclair - l86923-01Saatchi posterJeremy Sinclair 'Comrade'-01Jeremy Sinclair, Conservatives 'Trade Unionist' Saatchi & Saatchi-01Jeremy Sinclair 'Hang On'-011984_5
Jeremy Sinclair 'new danger' M&C SaatchiJeremy Sinclair 'New Labour'-01Jeremy Sinclair 'Whammy' John Major_1992_PA_372political-party-windsock-small-64480
DAVE: Traumatic? Liberating? Rejuvenating? How do you look back on leaving Saatchi & Saatchi twenty years later?
JEREMY: Shame we had to, but it’s great fun.

DAVE: Who’s idea was it to start ‘The New Saatchi Agency’?
JEREMY: Bill Muirhead and I had occasionally talked of going our own way – as everyone does.
When the majority of the board of Saatchi & Saatchi decided to give in to US shareholder pressure and fire Maurice, against my advice, I thought I am not going to spend the next few years repairing something I told the board and the US shareholders not to break.
So Bill, David Kershaw and I decided to start again.
We three were meeting in my office in Charlotte Street. when we had a call from Maurice and Charles saying they would like to join the partnership.

DAVE: The only agency positioning anyone knows is ‘Brutal Simplicity.’
Why double the word count and make it less simple, and brutal for that matter?

JEREMY: There’s a huge reason. It is the thinking that has to be brutal, not the execution. You have to be brutal on yourself, not your clients, not your colleagues, only your thinking. It has to be Brutal Simplicity of Thought.

DAVE: Have you written ads at M&C Saatchi? 
JEREMY: Some Tory stuff.
Some for RBS.
Recently some for Ester Rantzen’s Silver Line.Jeremy Sinclair 'Housewives'-01 Jeremy Sinclair 'Bullion'-01 Jeremy Sinclair 'Doubled'-01
DAVE:  Words are Gods. They have the power to make people do things, because they carry ideas.”
“The most powerful of words are small ones. The most powerful of sentences are short ones.”
“If you are smart enough you can write your way round the problem.”
Still feel the same way?
JEREMY: Yes.

DAVE: So you don’t agree with your old chum Sir John is saying words are a barrier to communication? (He should try communicating that thought without using them.)
JEREMY: I think you have countered that rather well. And John is an Art Director.

DAVE: With all the new channels there’s never been a greater need for people who can choose their words well, but never has there been fewer people interested in sweating over the choice of them.
JEREMY: True. I am hoping it is a fad and that it will change.
When ITV first came to the UK, the commercials were pretty dire, but everything produced results.
Fortunately after a while the public became more discriminating, responding to humour, understatement ,seduction and drama.

DAVE: Never been tempted to break away from Saatchi’s? Sinclair & Sinclair maybe?
JEREMY: Frequently, trouble is I am in business with the people I would start an agency with.

DAVE: What is more important to communications; Creativity or Psychology?
JEREMY: Creativity, it has psychology running through it.

DAVE: Name an ad you’d love to have written?
JEREMY: John Webster’s ‘Points of View’ for the Guardian.


DAVE: Snap! 

DAVE: Who’s the best Creative you’ve managed?
JEREMY: In no particular order: Paul, Jeff, Andrew, Simon, James, Ron, Rita, Alan, Alex, Bill, Martyn, Graham, Tom and Mike. Sorry if I’ve missed someone.cached.imagescaler.hbpl.coDAVE: How often do you see something inspiring?
JEREMY: Not often. Not enough.