Brazilian duo Caio Giannella and Diego de Oliveira have been a creative team since 2006 when they were hired to help build a new digital department at Africa in São Paulo. At the end of 2008, they moved to BBH London to work with clients such as Axe, Johnnie Walker, Barclays, and Vodafone. After three years at Mother London, they joined AMV BBDO as board creative directors in 2015.
They are responsible for writing award-winning work such as IKEA "Beds", Bodyform "Blood" and Axe "Apollo". The pair have won 12 Cannes Lions, 13 D&AD Pencils and 7 British Arrows.
Caio & Diego’s choices
Folha de S. Paulo "Hitler"
This 1988 ad for Brazilian newspaper, Folha de São Paulo, is one of the most awarded films by Washington Olivetto, including a Gold Lion win at Cannes. It ends with the tag: "It's possible to tell a lot of lies by telling the truth. You have to be careful with the information in the newspaper that you receive. Folha de S. Paulo, the newspaper that is most bought and never sold."
Clients are still briefing agencies, asking for “viral videos”.
Also, clients still believe digital means cheap/free.
Meanwhile, desperate inventory owners are crashing CPMs, further compounding the problem.
Most of today’s digital influencers don’t have any credibility or heft, they just have a faux metric of followers. The Sarpanch (village chieftain) was the original influencer, by virtue of their position as the leader of the community.
Content doesn’t necessarily have to be digital.
A book put out by a brand, that predisposes prospects and clients favourably towards it, is also good content.
An installation outside the airport can also count as content, again, if it gets prospects thinking about the brand while they wait interminably in terminal 2.
Google Maps’ City Guides is a great example of content that echoes the brand promise, nay it actually extends the product delivery.
One of the most famous (or, perhaps, notorious) quotes in the history of marketing is the assertion by Lord Leverhulme (founder of Unilever) that he knew that half of the money he spent on advertising was wasted – but that he didn’t know which half.
Perhaps, if Lord Leverhulme had had access to the most recent understanding of how our brains work, he might have been a little less puzzled.
Daniel Kahneman’s 2002 Nobel Prize-winning research showed that most decisions – including nearly all brand choice decisions – are made by our subconscious brains (he called this the brain’s ‘System 1’). Kahneman also showed how decisions are driven predominantly by emotional factors – not the rational, evaluatory processes that the business world often assumes its customers use.
“We can’t win the Le Mans 24-hour race because we don’t have the fastest car on the track.”
“We can’t recruit any more firefighters because we don’t have enough budget available.”
“We can’t sell our brand to younger consumers because it is perceived as old-fashioned.”
‘Can’t because’ is the death knell of creative thinking. It sucks all the oxygen out of the room. It saps energy and replaces optimism and hope with pessimism and light despair. This atmosphere of doom and gloom is only worsened when this negative turn of phrase is accompanied by equally negative body language.
In 1953, an unknown writer called William Golding wrote a novel.
He sent it to around twenty publishers, one after the other
And, one after the other it came back.
The rejection letters used phrases like “absurd, uninteresting” and “rubbish and dull”.
Eventually, a young editor at Faber & Faber read it.
Charles Monteith liked the book, he agreed to pay £60 for it, but it needed changes.
Golding agreed the suggestions improved the book.
But Monteith’s big problem was with the title.
The book was called: ‘Strangers from Within”.
Monteith thought this was dull, he asked Golding to think of a new title.
The story was about children on an island, so Golding wrote a list of possibilities:
Pride month is around the corner, a time for queer celebration, parades, solidarity, vigils and tributes to those who have been lost due to hate and intolerance. It’s exciting, often playful, sometimes sad, and incredibly important to the queer community., says Becks Collins.
In part one, we learned that communication that evokes an emotional response can help both its ease of processing and its memorability. However, this leaves a quandary that some emotional ads sell, whilst others do not, says Phil Barden.