SIX KIWIS TO JUDGE NEW YORK FESTIVALS

With a star line up of judges in Australia and New Zealand and a 20% jump in entries, 2008 promises to be a big year for the New York Festivals Advertising in all Media competition. The judges have been chosen from recommendations made by the industry’s top creatives, and many are multiple award winners themselves. They join judges representing over 30 countries from around the world. Judging will commence early March. Winners will be announced at a Gala event in New York in early May.

Judges from New Zealand:
Jeremy Taine, ECD, Ogilvy Auckland – TV
Tim Hall, CD, Saatchi & Saatchi, Wellington – Print
Peter Hewitt, Exec. Producer, Film Construction – Art & Technique
Jake Fitter, Lead Sr. Creative – Saatchi & Saatchi, Auckland
Nick Worthington, Executive CD, Colenso BBDO, Auckland (pictured) – Print
Josh Frizzell, Director, Curious Film

Judges from Australia:
Mark Collis, National CD, Leo Burnett – TV
Rebecca Carrasco, Executive CD, Colman Rasic Carrascom, Sydney – TV
Steve Back, ECD, Saatchi & Saatchi, Sydney – Print
Rem Bruijn, CD, MAKE, Brisbane – Print
Ralph van Dijk, Eardrum, Sydney – Radio
Buzz Pringle, Stellar Group, Sydney – Radio
Andrew Tinning, CD, Marketforce, Perth - Outdoor
Emma Hill, CD, Clemenger BBDO, Melbourne – Outdoor
Ashley Ringrose, Director/Founder, Soap Creative, Sydney – New Media
Aaron Turk, CD, Tribal DDB, Sydney – New Media
Jonathan Samway, Exec. Producer, Prodigy – Art & Technique
Pete Baker, The Glue Society, Sydney - Outdoor
Lee Thomson - Robbers Dog – Art & Technique

NZ AND AUSTRALIAN AGENCIES FEATURE STRONGLY IN THE BIG WON ANNUAL RANKINGS

The Big Won, the international ranking of agencies across all marketing disciplines, places Australian and New Zealand agencies highly. The 2007 results covered nearly 10,000 awards presented in 73 countries to more than 1,600 agencies across multiple disciplines, including advertising, direct and digital marketing. The full list of rankings is available at

THE BIG WON

Overall, direct marketing in Australasia is clearly world class with 4 out of the top 10 dm campaigns hailing from the region. Local agencies also made it to the top ten in press campaigns, as well as alternative media, though no Australasian agency appeared in the top 10 TV, print, digital, or poster campaigns.

Key highlights:
· The region boasts world class direct marketing agencies with New Zealand’s AIM Proximity ranked second in the world out of more than 900 dm agencies, while M&C Saatchi Sydney is third, and BMF is 11th.
· Australia and New Zealand dominate the top 10 most awarded Direct Marketing campaigns in the world, with campaigns from Leo Burnett and AIM Proximity (for BNZ) sharing first place, M&C Saatchi Sydney 6th place and TBWA\Whybin Auckland in 10th position.
· In the top 10 Alternative & Innovative Media campaigns, George Patterson Y&R Melbourne ranks 6th in the world for the VB ‘Boonie’ campaign.
· In the top 10 Press Campaigns, Publicis Mojo Auckland ranked 3rd in the world for the Ketchup ‘CALM’ campaign.
· The best Television and Cinema Advertising campaign from Australasia was ‘Children see, children do’ for NAPCAN by DDB Sydney, ranked 25th in the world.
· The best Digital campaign from Australasia was BMF’s ‘A new form of currency’ for Macquarie Bank, which was ranked 17th in the world from more than 700 campaigns.
· In overall global rankings, AIM Proximity is the top Australasian agency ranked 33rd in the world out of 1,600 agencies, followed closely by M&C Saatchi Sydney at 35th, Leo Burnett Sydney at 55th, and Publicis Mojo NZ at 87th.
AIM Proximity CEO, Darryn Melrose, said: “It’s great news. The number two global ranking from more than 900 agencies is due to a variety of consistently outstanding campaigns from a broad range of clients. The close relationships we have with our clients clearly underpin what we have achieved here.
“We have also edged out our regional competition to become the most awarded agency in this part of the world across every media discipline - television, radio, press, poster, digital and direct. We are proud of this achievement.”

SAATCHI WORLDWIDE LEADERS TO GATHER IN AUCKLAND FOR FIRST OF REGIONAL SUMMITS

Some of Saatchi & Saatchi’s most influential inter- national execs are set to meet in Auckland next week for the first of a series of regional summits.
The Asia Pacific Regional Meeting, scheduled for 4 and 5 February, is the first stop on the regional circuit for Saatchi Worldwide CEO Kevin Roberts and a group of his senior managers.
On the back of a highly successful 2007 for Saatchi worldwide, which saw the firm achieve significant and well-publicised gains with new and existing clients, these regional meetings will set the tone for 2008 growth, with a focus on the digital business, sustainability, and the global impact of Lovemarks.
Saatchi Auckland CEO Andrew Stone notes that it is auspicious for New Zealand to be hosting the first meeting. “It’s both an honour and an opportunity for us to learn from the leaders of our firm who maintain a global perspective. I am also delighted that they see an opportunity to learn from us, as the New Zealand agency has long been known in the Saatchi network to embody creativity, effectiveness and business success.”
Several of the attendees are household names in the creative world, including:
Bob Isherwood, Worldwide Creative Director (pictured)
Sandy Thompson, Worldwide Head of Planning
Richard Hytner, Deputy Chairman, Worldwide
Tom Eslinger, Creative Director – Interactive, Worldwide
Joining them will be the CEOs of all the Asia Pacific offices, including Australia, Hong Kong, India, Indonesia, Japan, Korea, Malaysia, People’s Republic of China, Singapore, Taiwan, Thailand, Vietnam, and New Zealand.
“This meeting also provides a rare chance for the chief executives of all our offices in this part of the world to come together, share ideas, and exchange insights about trends in the region,” Andrew Stone says.

COMM BANK ANOTHER ASB?

In Australia, the much anticipated Commonwealth Bank campaign created by Goodby Silverstein & Partners, San Francisco is getting a caning on the

CB BLOG

. Amongst other insults, a few CB Bloggers are saying the new work is not original, with some Kiwi expats claiming it has similarities to the ASB campaign, not surprising they say, given that both Barbara Chapman, the Commonwealth Bank’s group executive, human resources and group services and CEO Ralph Norris, came from the ASB, which is owned by the Commonwealth Bank.

Here's the CB Blog article:

The Commonwealth Bank launched its long-awaited branding work from Goodby Silverstein & Partners, San Francisco on Australia Day with a mockumentary-style campaign based around the bank working with its cast of well-meaning, but culturally clueless American advertising executives and invariably polite, persistent and patient Australian clients.
Launching on Nine during the cricket, Ten during the tennis and Foxtel/Austar tomorrow, there will be a video broadcast on NineMSN with live screening at Martin Place and Hyde Park. Running for a week it will be followed by a spot featuring the Australian cricket team and then a home loans spot. A

MICROSITE

has been developed which will showcase the ads with backgrounders about the cast members, which includes a copywriter/art director called Luke and Luke.
The Commonwealth’s Bank marketing general manager Mark Buckman says the campaign hasn’t been tested with the general public – the

LAUNCH COMMERCIAL

was only finished twenty minutes before he flew back from San Francisco last night – but he is confident the general public media is savvy enough to get it. He adds that picking up on the humour is not reliant on the general public knowing the bank used an American agency.
When the first half of the commercial appeared on YouTube this morning, bloggers went into over-drive unsure whether it was a joke or the real offering, a reaction that reflects the scrutiny the bank has been under since appointing the US agency nine months ago.
Says Buckman: “It is intended to break the conventions of banking marketing and give something different that will stand out on Australian television. We saw multiple options before we landed on this campaign, which we think is bold and exciting. It’s quite provocative and is certainly different to what we have done before. We think it is really funny, sort of like Seinfeld meets The Office, but most importantly it gives us a device to communicate the many different ways the Commonwealth Bank is different to our competitors."
Goodby, which was recently named Advertising Age’s and AdWeek’s Agency of the Year, presented about three campaigns to the agency including one Buckman is calling a “safe" approach, which the bank rejected in favour of this more entertaining and edgier idea.
“In this media savvy world….being able to engage with the Australian public on an emotional level and connect with them in a way they will want to connect with us and find out more about the Comm Bank so what we have created is more like a sitcom series than it is conventional advertising," he says, admitting that it was partly inspired by the experience they had working on the campaign.
Goodby’s Steve Simpson, creative director on the campaign, says the agency is fictional and is not Goodby, but plays on Americans being a convenient foil for all the excesses of marketing and taps into the fascination for advertising.
Says Simpson: “Everyone is now a filmmaker as we see on YouTube, we invite the public to make their own commercials, user-generated content is all the rage and everyone I ever meet who finds out I’m in advertising has had an ad idea so there is this interest in what goes on behind-the-scenes so the making of this stuff becomes the subject of the advertising. There are clear stylistic nods to the Office, the way the silence is played, the awkwardness of the client’s reaction."
Print and outdoor ads, web advertising and in-brand materials will put the Bank’s message more simply, offering proof points of the Commonwealth’s new truth.
The Commonwealth Bank’s group executive, human resources and group services, Barbara Chapman says most people had a view of the bank as a traditional, established big bank, part of Australia but lacking in momentum and a bit lacking in energy: “Internally I see an organization that is quite different, it is going through a transformation of change and is focusing very much on the customer and customer service and our vision to excel in customer service is coming to life as we speak in every interaction that we have. It’s an unusual position where the perception of the bank is a little bit behind the reality."
She says 70% of its customers as nine or ten out of ten for their most recent branch interaction, making the biggest marketing challenge that of getting that perception changed among customers and staff
“It’s not just a tagline, ‘determined to be different’ is something we are going to live up to and we are living up to and will live up to that every single day. We are prepared to be judged by that commitment and that determination and it's not determined to be different from where we have been but to be different from every other bank in this market," she says.

AGENCY: Goodby, Silverstein & Partners, San Francisco
CREATIVE DIRECTORS: Rich Silverstein, Steve Simpson
COPYWRITERS: Pat McKay, Chris Beresford-Hill, Rick Condos
ART DIRECTORS: Feh Tarty, Will Hammond, Hunter Hindman
PRODUCERS: Barbro Eddy, Jake Grand
DIRECTOR: Eric Lynne
PRODUCTION COMPANY: Partizan Productions, Los Angeles


VIEW THE

LAUNCH COMMERCIAL

MAISEY QUITS M&C SAATCHI

After two years at M&C Saatchi, Executive Creative Director Oliver Maisey has resigned from the agency, to be temporarily replaced by Sydney-based Regional Creative Director, Tom McFarlane, who will take an active role until a replacement is found.
McFarlane of course has a long and successful pedigree on this side of the Tasman, having masterminded the iconic NZ Tourism 100% Pure NZ campaign, as well as significant brand work for ANZ Bank.
Says M&C Saatchi CEO Nick Baylis: “Oliver and I have been discussing his desire to take time out from M&C Saatchi and move on to a new challenge for some time. Coming back from the festive break, he decided that now was the time to leave. M&C Saatchi is the third agency in which Oli and I have worked together, and it’s been a great partnership. While it’s sad to see Oli go, and I wish him the very best, it’s reassuring to have someone of the calibre of Tom McFarlane in a regional role to ensure that we bridge this transition in the interim. More importantly though, this is a great opportunity for us to re-energise our creative department and our product - which is bloody exciting”.
Says Maisey: “After two full on years at M&C Saatchi, I felt the time was right to take a break”.

2008 AXIS AWARD SITE NOW LIVE

The official 2008 AXIS Award site is now live. Following the doctrine of change set out by Toby Talbot (Convenor of Judges), the site allows you to vote for the award night’s host, caterer, venue and after-party location. You can even vote on the local judging line-up and upload your own host and venue suggestions! A collection of nominee videos have also been prepared so you’re not voting blindly.
This is a bold and unprecedented method of creating an awards night, and one that Talbot believes will work: “When you look at the options we’re offering, especially for something as important as the choice of host, I know we’re onto something pretty bloody special”.
Download your AXIS Call For Entries booklet and have your say at

ITSYOURAXIS.CO.NZ

TALBOT'S GRAND AXIS PLAN: THREE OVERSEAS JUDGES TO DECIDE GOLD, SILVER AND BRONZE

Axis chairman Toby Talbot, ECD of DDB (left) outlines big, bold changes to the Axis Awards, which includes inviting three top overseas judges to pick Gold, Silver and Bronze:






Welcome to your new, improved AXIS.
This year we’ve changed a lot about your local show. Not for the sake of change, but because it seems everyone really wanted AXIS to change.
The feedback was clear after last year. You weren’t happy. At all.
When I say ‘you’, allow me to break that down for you. Creatives, suits, producers, CEO’s, MD’s, clients, directors, composers, production companies, photographers, media companies and sponsors.
Yep, pretty much all of you.
So what we’ve done is change the things about AXIS that you least liked. Obviously we can’t please everybody. But then it wouldn’t be AXIS if there wasn’t a bit of bitching and moaning, now would it.
So what’s changed?
Well for starters, there are fewer categories. We’ve got it down from a hefty seventy-two to a svelte fifty-five. Hopefully, you won’t miss the categories we killed (let’s face it, why did we have all those ‘International’ categories anyway). If you do, um, sorry.
Then there’s that hoary old chestnut, the judging.
For as long as Roger MacDonnell has been wearing long pants, questions have been raised about Axis judging. And the voices of discontent have grown louder. My theory is that the industry has shrunk which means so has the number of agencies and therefore judges. With only a handful of agencies dominating the awards, it seems to have become harder and harder to objectively judge the work.
There has to be a better way and this year, we think we’ve found it.
For AXIS 2008, we’re asking some of our most respected New Zealand creatives to cull the initial entries into a shortlist. But not the usual suspects. This time the ‘Pommie Mafia’ Creative Directors are stepping down and the younger up-and-comers are stepping up.
Then we’re going to take the unprecedented step of getting three independent, unbiased, globally significant judges - all based offshore - to decide Gold, Silver and Bronze.
Before the outcry, ‘but what does Johnny Foreigner know about New Zealand’, the answer is quite a lot really.
We are in a global business. Our work is highly visible these days given our successes at overseas awards shows. All three of our judges will be very aware of what we do here.
As for our little kiwi idiosyncrasies, campaigns like L&P have done very well overseas, so let’s not get too caught up about people ‘getting it’.
Besides, do you really want Axis to be a parochial, xenophobic show? I know I don’t.
So who are the three annointed ones?
Traktor need no introduction, but I’ll give them one anyway. Twice crowned the most award-winning directors in the world, Emmy winners, and two-time winners of the Cannes Grand Prix, this directing collective are a formidable creative force. Who can forget the MTV ‘Jukka Brothers’ or the Fox Sports ‘News from the only region you care about’ spots. We’re proud to announce that we’ve got two of them.

Chuck McBride (pictured), prior to setting up his own agency, Cutwater in San Francisco, was Lee Clow’s right hand man at TBWA\Chiat\Day North America. Think of all those amazing adidas ads that have come out of the States in the last ten years. Chuck was behind them all.
And we’re bloody excited to have Seb Royce representing digital. The CD of Glue London, Seb’s just been listed as one of the Top Ten Digital Talent by the UK’s Campaign Magazine. A truckload of awards probably had something to do with that, as well as being a super passionate creative.
These are people whose opinions you should give a shit about.
And what’s going to make AXIS night special this year is that they will be here for the show itself to hand out the awards.
What other changes? Well, instead of five Grande AXIS, this year there will be just one Grande AXIS, previously known as Best of Show. This award will be judged during AXIS week by all three judges and chosen from the various Golds they have already awarded.
Gone are the days of forests of polyboard. Your AXIS entries this year will all be uploaded to an ftp site. Except DM entries.
(Bloody DM, but what can you do).
Oh yeah, there’s one more change that will make this AXIS better than last year’s.
Clems Wellington is entering it.
See you on the night.

Toby Talbot

MARK CHAMPION, NOW WITH AUSTRALIAN AFA, POACHES JO LIBLINE FROM CAANZ

The Advertising Federation of Australia has appointed Jo Libline from CAANZ as its new Events and Sponsorship Manager.
Jo has extensive background in events management and sponsorship development and support, and has worked extensively in the Australian and New Zealand tourism and wine industries.
Jo is currently the Events and Sponsorship Manager with CAANZ, where she produced and staged three major advertising award programmes.
“Jo has the perfect credentials for this key role within the AFA,” said new AFA Executive Director, Mark Champion, who worked with Jo while he was head of CAANZ.
“Her experience of running world-class marketing communications award programs and a plethora of industry events, as well as her ability to attract supporters and showcase their brands will be invaluable,” he said.
Prior to her role with CAANZ Jo came from the position of Trade Marketing Manager for the New Zealand operation of Tourism Australia and has headed up the Yarra Valley Tourism organisation.
She replaces Allison Barrett who left the AFA at the end of 2007.
Jo starts her new role with the AFA on February 25.

DIGIPOST GETS TERRIFYINGLY SUBLIMINAL

The VFX team who created award winning commercials like Tiger Beer ‘In this Life’ (Silver Lion 2007), and the Cascade ‘The Natural Order’, are celebrating another success with the recent US Box Office #1, 30 Days of Night.

SEE THE TRAILER HERE

Digipost found time between making commercials in 2007 to finish the US feature, completing over 600 spine chilling shots, around 85% of the VFX in the Ghost House Pictures / Columbia Pictures horror.
Digipost executed a range of subtle effects designed to impact the audience on a subliminal level. Of particular interest is the disturbing phenomenon coined ‘digital vampire effects’ that heightens the terrifying nature of the blood-thirsty villains.
While the film’s VFX haven’t gone unnoticed, it’s fair to say the horror genre is not everyone’s cup of tea. Unless, of course, like a few agency creatives we know, you have a penchant for a little gore with your Earl Grey in the morning.
“Our team really enjoyed getting their teeth into 30 Days of Night”, notes Digipost GM, Stephen Douglas. “Doing film work as well as commercials gives us a strong VFX repertoire that inevitably benefits the TVC production side of what we do. Our team is sharper, more creative and versatile as a result.”
Douglas points out that, when it comes to advertising, the last thing anyone would suggest is subliminal manipulation, or wholesale on-screen slaughter for that matter. However, anyone looking for a super-realistic finish for their commercial project knows where to get it. “If we can creatively and skilfully deliver on a large scale feature like this, we can certainly deliver for a TVC project”.
30 Days of Night will be in New Zealand cinemas end of January.

THE HYPERFACTORY DOMINATES MOBILE MARKETING CATEGORY AT AIMIA AWARDS

The world’s most awarded mobile marketing and media company, Auckland's The Hyperfactory, has been named a double-finalist in the Best Mobile Advertising or Marketing category at the Australian Interactive Media Industry Association (AIMIA) Awards, to be announced in March.
The Hyperfactory was recognised for two mobile campaigns, both of which have already won several major mobile and marketing awards across the globe.
The Motorola ‘Say Goodbye’ campaign saw The Hyperfactory pair with Ogilvy Hong Kong to create a groundbreaking interactive campaign at Hong Kong International Airport. It allowed travellers to say goodbye to loved ones via their mobile phones by broadcasting their personal video messages on giant screens around the airport. They could also receive video messages and exclusive content from soccer star David Beckham and Chinese chart-topper Jay Chou direct to their mobile phones.
There were tens of thousands of video interactions between travellers, David Beckham and Jay Chou, and the videos made their way all over the world from phone to phone. In addition to being a huge hit with consumers, the campaign has also won big with the industry, collecting Best In Show accolades at the prestigious Adweek Buzz Awards and OMMA Awards.
The Wellington Zoo ‘Augmented Reality’ campaign (pictured) was created in association with Saatchi & Saatchi Wellington and human interface company Hitlab NZ. It featured world-first technology that enabled users to bring a 3D zoo animal to life in the palm of their hands – simply by pointing the camera on their mobile at a print advertisement. The campaign won Best Print at the Adweek Buzz Awards.
Says Geoffrey Handley, The Hyperfactory Director New Business Asia Pacific: “Many of our recent successes have been at international awards ceremonies, so it’s great to see some recognition closer to home.
“Mobile marketing is at a tipping point in Australasia right now – we’re thrilled that AIMIA has acknowledged The Hyperfactory as being at the forefront of this next digital revolution.”

OGILVY PUMPS IT UP INDEFINITELY

Pump Pure New Zealand Spring Water has launched what they claim is a revolutionary advertising campaign via Ogilvy, rolling out a series of 50 individual animated television commercials.
Each fortnight a brand new

commercial

will screen, following the pursuits of a wily, animated character who’s modus operandi is to stay pumped. Through action and adventure he stays ahead of the game, narrowly escapes disaster and keeps moving on through his quick wit and agile manoeurvres, highlighting the benefits of constant hydration. Re-invigorated new packaging featuring a dynamic new wave is another component of the Pump campaign.
Catherine Woodley, Senior Brand Manager says the innovative new advertising campaign is designed to take an already successful brand to a new level: “We anticipate stronger market growth over the next two years as the Pump campaign evolves and reinforces the ‘drink, think, act’ message with the target market,” she said. “There’s never been an animated campaign like this that literally evolves or ‘rolls out’ in the same way as a television series and we think the brand’s changing story over the next two years will really capture the imagination of viewers.”
Ogilvy Executive Creative Director Jeremy Taine concurs: “Pump is such a dynamic, fluid brand – pun absolutely intended – standing still was never an option. Dan and Paul have done a brilliant job for a visionary client and we think the market will love the ride.”
Launching this Sunday January 20, 2008, the integrated Pump campaign incorporates television, outdoor, online and a new point of sale suite. It has a total rate card value of two million dollars to ensure a strong market presence. Destined to reach iconic brand status with this ambitious, innovative brand campaign, Pump is a product of Coca-Cola Amatil and New Zealand’s number one single serve water brand.

CANNES REGISTRATIONS NOW OPEN

Delegates wishing to attend the 55th International Advertising Festival, to be held in Cannes June 15-21, can now register at: www.canneslions.com
Delegates can select a three-day, four-day or full week registration package, with access to 47 topical seminars, 30 workshops, the Content Showcase, screenings, exhibitions, four award ceremonies, two galas and the greatest networking opportunity the advertising industry has to offer.
Special registration packages are also available for young creatives and students.
Registered delegates can find information on a wide range of hotels, residences, serviced apartments and villas at www.canneslions.com
The deadline for inclusion in the Delegate Handbook is Friday, May 2.
Entries open online Thursday, January 31.

IDEAWORKS GETS WAREHOUSE STATIONERY BUSINESS FROM DDB WITHOUT A PITCH

Idea Works has been appointed to handle Warehouse Stationery without a pitch, taking the business from incumbent DDB -- who still retain the bulk of the Warehouse account.
The win, one of the biggest retail accounts to move in recent times, will provide a significant platform for Idea Works growth in the NZ market. “It’s a testament to the great credentials, knowledge and perseverance of the Idea Works team”, says Lindy Shuttleworth, GM of Idea Works NZ.
Warehouse Stationery is NZ leading stationery retailer with 43 stores and an annual turnover of $200 million.
Juanita te Rito, Warehouse Stationery GM - Marketing and Property said the company had sought out Idea Works to discuss the opportunities of a partnership based on the extremely successful work the agency had taken to market for businesses such as Big W and SuperCheap Auto in Australia.
“Idea Works has demonstrated experience and expertise in bringing retail brands to life. They live and breathe retail and have a very strong commercial understanding of what makes retail tick.
“Our move to Idea Works is very exciting – as they are so much more than an advertising agency. Idea Works will partner with us on a host of strategic initiatives from brand positioning, business planning, network planning, communications strategies and environmental design.”

Y&R AUCKLAND WINS OCTOBER/NOVEMBER COULD BE A CAXTON COMPETITION

A press ad for Liquorland in New Zealand has been announced as the October/November winner of the Could Be a Caxton competition, established by the Caxton Committee and supported by The Newspaper Works to recognise and showcase great creativity on a bi-monthly basis.

CLIENT: LIQUORLAND
AGENCY: Y&R AUCKLAND
COPYWRITERS: VAUGHN DAVIS & MATTHEW WEBSTER
ART DIRECTORS: SCOTT GOWLAND & JANINE WAREHAM

A Highly Commended was also awarded to The Furnace in Sydney for its Rabo Bank Topical Election series.

CLIENT: RABO BANK
AGENCY: THE FURNACE SYDNEY
ECD: ROB MARTIN MURPHY
CREATIVE TEAM: SEAN BIRK & CHAD MACKENZIE

Rocky Ranallo, Deputy Creative Director of Clemenger BBDO Sydney, and the judge of the October/ November competition, said: “The thing I like the most about the Liquorland ad is the fact that it’s been developed purely for the medium. It’s not just a magazine ad stuck in a newspaper. I also like the fact that it has a headline, which aren’t very popular these days, but are still very powerful. Ask any newspaper editor.
"Finally, I really love that I have drunk all of these wines (and then some) with the likes of Ron Mather, Lionel Hunt, John McCabe, Danny Searle, Mick Hunter, Ian Morton and Moose, and am still alive to talk about it.
"I also really liked the Rabo Bank Rate ads. You can’t help but be drawn into them. Meanwhile, the interest rate is being etched into your brain.
"But there can only be one winner, so it goes to the happiest kingdom of them all…...Liquorland.
"Now I’m off to lunch. See, it’s working already."

The creative team from Y&R Auckland wins an all expenses-paid trip to the 2008 Caxton Weekend.
The December/January competition is now open for entries. It’s free to enter and anyone can submit nominations. For more information on how to enter the Could Be a Caxton competition and the Caxtons in general, visit

The Caxton Awards

Please contact Lucia Elliott at The Newspaper Works on +61 2 9696 6300 or email luciaelliott@thenewspaperworks.com.au for further information.

RODD MARTIN HEADS TO SAATCHI WELLINGTON

Saatchi & Saatchi Wellington have bolstered their senior creative resources with the full-time appointment of Rodd Martin as associate creative director and head of art. Martin’s extensive CV includes previous stints at Saatchi's Sydney, as well as creative director roles at The Campaign Palace Melbourne and Omon New York. More recently, Martin was a founding principal of Brandhouse Arnold (now The Furnace) with offices in Melbourne and Sydney, and has enjoyed considerable success as a TVC director, a skill the agency will utilise. He has won numerous awards throughout his career, including Cannes, One Show, Clio, and seven AWARD pencils.
“Rodd had a freelance stint with us over a couple of months last year and quickly made himself indispensable,” said creative director Tim Hall, also an expat Aussie. “Not only does he come with a vast array of creative and business skills, but his personality and passion for great ideas make him a natural for this agency. Everyone here is thrilled to have him aboard.”
Says Martin: “Saatchi & Saatchi Wellington is going through a kind of re-birth at the moment. There’s a lot of momentum here and more and more it feels like the cheeky child it used to be.”

DDB SNARES KAREN MAURICE O’LEARY AND VERITY BUTT FROM WHYBIN\TBWA

TBWA\Whybin's award winning Young Guns team will be leaving the agency at the end of January to join DDB.
“Karen and Verity have accepted a position at DDB, and will work for Toby Talbot (Bastard). We wish them well. They have been a fantastic asset to our team here,” says TBWA\Whybin ECD, Andy Blood.
Says DDB Executive Creative Director Toby Talbot: “We’re delighted they’re coming onboard, they’ll fit really well here. Although they’re hugely talented - arguably the most awarded young team in Australasia – they haven’t let early success go to their heads. They’ve remained thoroughly nice, hard working and fun.
“We’ve got a lot of young talent in the DDB creative ranks now, so Karen and Verity are coming onboard at a great time. They’ll get the opportunity to get their teeth into some terrific clients so we’ll be making full use of their talents.”
Karen Maurice O’Leary described the move as “the right opportunity, the right creative director, and the right agency.”
Verity Butt added:"This is a great way to start the New Year. Fresh challenges, new clients and a new creative director. We've had an awesome start to our careers, which has put us in good stead to be ready for new opportunities.”
The duo came to TBWA\Whybin on placement in 2004 after graduating from Auckland’s AXIS Adschool. Their winning streak began the very next day when Verity won an apple G5 at an apple ‘Director’s Day’.
Three years later, they leave with a Cannes Grand Prix, 5 Cannes Lions (3 Gold, 2 Bronze), 1 Titanium shortlist, a D&AD Silver Pencil, 1 Grande Clio, AWARD Silver and Bronzes, a One Show Bronze Pencil and Gold, Silvers and Bronze at Young Guns.
They produced outstanding work across the board for ASB, Firestone, adidas, Sovereign and also for the Multiple Sclerosis Society of New Zealand.

D&AD DEADLINE 16 JANUARY

With 2008 in full swing the countdown to this year’s D&AD Awards entry deadline is on.
The deadline for completing the online entry process is Wednesday 16 January 2008 – there will be a short extension to this deadline when entries submitted will incur a 10% surcharge. Entering is quick and easy and you can send any physical work after completing the online process so there is plenty of time left.
To enter, or for full information on this year's Categories, Prices and Juries go to www.dandad.org/awards08.
If you need any help or support you can contact D&AD at http://dandad.chillibean.net/perl/dandad/entry/_contact.pl - your query will be answered by a member of their dedicated team.

SAATCHI'S WELLINGTON HOT AGAIN

Saatchi Wellington staff returned after the Christmas break to find their office still smoking from a fire which totaled the burger joint (Burger Fuel) and the agency car park on the ground floor.
The office is on the top floor of the building and is essentially ok but covered in smoke dust. It'll be a week before the power is restored, the place cleaned and Health & Safety will allow tenants back in.
The Merc is owned by MD, Cameron Harland's and the moped belongs to one of Saatchi art directors.
Meanwhile Saatchi Wellington is operating out of conference facilities at The Museum Hotel - Level 4, 90 Cable Street.