互动中国专访:创意追问 —— Yacco Vijn 再谈好创意与创意的国际表达


人物背景:今天的主角是Yacco Vijn:  2011年Cannes Lion戛纳国际广告节Cyber Lion评委;2012年Webby Awards国际广告节评委;曾多次担任FWA和艺术指导俱乐部(Art Directors Club)评委席的座上嘉宾;现任荷兰TBWA\NEBOKO的创意群总监。他的作品是全球各大顶级奖项的常客,包括戛纳狮子,Eurobest欧洲创意节,纽约广告节(NYF),威比奖(Webbys) 和Art Directors Club。

曾经对话镜明先生:《互动中国专访: 日本广告教父 电通 镜明先生——创意思维的角度》,我们看到了一位典型日本广告人的创意哲学;那么今天您将看到的,则是相对更直截简明的西方广告人的创意观点。

国际广告界(尤其是创意领域)如今依然将戛纳、威比等国际奖项作为指南,也是我们寻求“什么是国际公认的好创意”时最先想到的参照物。在Yacco先生身上我能看到现今国际广告界极有代表性的特征:创意至上、推崇简约创意表达、具有斩钉截铁的创意主张、对创意和生意有独到见解、他的作品也获奖无数、在数字广告圈风雨兼程十五年,一样是披星戴月,与优秀创意同行⋯⋯同时,作为各个国际奖项的资深经验人士,他也坦诚提出中肯的建议。

五大创意追问,一起解读这位来自荷兰的广告创意人背后的创意观点。

采访&编译: Vivian Peng@DamnDigital  案例编译:Ruanruan Lan@DamnDigital
 (原创内容, 转载请务必注明来自
DamnDigital) 

先从作品说起,是更好地了解背景,也是对优秀创意的回顾与尊重。案例来自Yacco Vijn及其带领的荷兰独立广告代理公司KONG,2010年戛纳国际广告节银狮得主,最佳公关活动,最佳社会化媒体/新媒体技术应用:

Stanislav: Strikes Again And Again

2009年8月,荷兰司法部门组织对年轻人群发起一波旨在提升公民对网络犯罪防范意识的公益活动。当时的荷兰,85%的年轻人每天都泡在当地的社交网站 Hyves上,选择Hyves开展活动再好不过。

活动以一个与“YouTube’极为相似的定制视频作为核心,展示的是一个地下的犯罪团伙如何搜集人们在社交网站上的个人资料。同时在Hyves上搭建活动迷你站。用户在首页就能观看该视频,利用病毒传播效应,激励网友将视频转发给Hyves好友。此外根据Hyves的开放API对用户进行IP定向、针对不同性别和社交关系信息播放个性化视频,让受众感觉更加真实。

广告推出后, 在没有任何媒体购买的情况下,当天就得到了54,661的浏览量;两天后,浏览量达到了2,505,690次。一周之内,视频被转发了7,014,285次。在这短短7天之内,荷兰有史以来最大的社会化媒体病毒广告诞生了。这应该也是近10年来最成功的荷兰政府广告运动。

更多关于此案例的具体信息和Credits,请点击此处

那么,Yacco Vijn到底是谁

他曾经是荷兰一家国际知名的电子音乐厂牌Ableton Live的重要成员,国际巡演的DJ/制作人。2007年他作为合伙人创立了KONG ,并且带领KONG以独立创意代理公司的身份在国际上获得了认可和殊荣,成为荷兰第一支也是至今唯一冲入国际TOP 10的独立广告公司。此前,Yacco曾任Poke伦敦创意总监,Skipintro互动公司合伙创始人,Lowe Digital创意副总监。他的作品屡获国际各大广告奖项的青睐。正如Heeftstiji的记者所描述的那样,从外形、思维到作品,Yacco有着浓郁的现代西方(至少是欧洲)广告界典型的“创意总监”所具有的风范。

然而,就在今年12月1日,也就是几天之前,Yacco离开了Kong ,加入TBWA\NEBOKO阿姆斯特丹担任创意群总监。这使我们感到疑惑,记得他曾在某个采访中谈到了“保持独立性,是保持团队产出好创意的重要原因之一。”⋯⋯因此,我们更好奇在这一转身的背后,具体原因是什么呢?

创意追问之一:好创意需要因趋势而转变

DM:您加入阿姆斯特丹的TBWA\NEBOKO担任Managing Creative Director,这一变化对你来说意味着什么? 你觉得在KONG这样的独立创意团队里工作和在TWBA这样的国际化大公司里工作有什么不同?从创意的角度出发,哪一种公司的氛围更有利于创作出好的作品?

Yacco: 作为一家创意代理公司,KONG的规模比较小——大约是10个人左右,而TBWA\NEBOKO是荷兰最大规模的广告公司,拥有230名左右的员工。并且,近十几年来,TBWA\NEBOKO的作品屡获殊荣,是荷兰公认的最受推崇的广告公司,对我来说是个全新的重大挑战,另一个重要的原因,只有TBWA\NEBOK0能够成为荷兰所有广告公司中唯一拥有传统创意人和数字广告人同在一个创意组的广告代理公司,这意味着在创意层面可以真正跨越传统与数字两领域,制作出真正整合性创意作品的地方。(这将会是我加入这里的主要任务之一)。

DM:那么您眼中的互动广告的未来趋势是怎样的?小型的独立互动广告公司在这样的趋势下又将如何发展?

Yacco: 我觉得大家对于数字广告的理解普遍都有失偏颇,对我来说数字广告的未来趋势是整合——我相信对于任何一个Brief来说,最好的创意必然是不受媒介与渠道限制的。无论是传统广告渠道亦或是数字互动形式,互联网介质,无论在哪里,好的Idea必然值得人们乐于分享。

编者解读:

或者是忘记了问题的后半部分,但是依然可以看得出,从他的角度来说,作为独立的创意公司,要继续保持创意的优秀性,也必然需要将创意思维做出转变,创意将不再受到渠道和媒介的制约。

创意追问之二:创意的要素与要求

DM:一个伟大的创意理念的关键元素是什么?

Yacco:好的创意肯定是能够让人感到激动和兴奋的,并且,能够轻松简单地向人们传达这个点子。好的创意也必然是使人们愿意主动地投入其中,并乐意把这个作品分享出去的。(A great creative idea is something worth sharing, something people like to talk about and work on.)

DM:可消费者变得越来越挑剔了,因为市面上的好广告真的不多,各种噱头,大奖,只不过一些机械的手段来吸引大家的注意力,不知道在荷兰,欧洲有没有这样的现象?您会怎样看待?

Yacco:这是一个“注意力经济”主导市场的时代,肯定有越来越多的讯息出现。唯一让广告作品受到消费者关注的方法就是要足够创新,有创造性。能使人们觉得眼前一亮。

对于品牌的问题,我想说,我坚持认为只有那些对于受众关注的内容有所重视和意识的,期望与消费者之间进行进一步交流,并愿意为之去做点什么,只有这样的品牌,才真正能够在这个时代的市场竞争中最终脱颖而出。今天的广告主们都应该了解到这些。

编者解读:

好的创意对客户该不该有要求? 从Yacco身上,答案应该不言自明。巧合的是,曾经在华扬联众的戛纳评委分享会上,有人提了类似的问题:“如果客户对创意一直没太大要求,只要一般般就行了,如果一直维护这样的客户,我们该如何更好地应对并且不失创意水准? ” 当时Yacco给到的答案很简单:’如果你对创意很有追求,但工作上老是面对这样的客户,我劝你们可以考虑下换一个客户。” 听起来很简单,当时很多人笑了。笑的是什么呢?

创意追问之三:创意人该以“获奖”作为追求吗

DM: 得奖真的很重要吗?曾经做DJ的时候有什么获奖追求吗?“DJMAG TOP100”? 作为创意人,在你心里,戛纳金狮这样的各种大奖对你来说意义何在?

Yacco:  做DJ的时候,好像还没有“DJMAG TOP100”这样的将出现,哈哈。作为一个创意广告人,戛纳对我来说,是广告创意界的奥斯卡,是全球创意领袖的聚集地,走进戛纳对于创意人是一种认同和荣誉,意义非比寻常。当然,现在市面上各种广告奖多如牛毛,要懂的分辨,哪些值得重视 —— 比如戛纳,威比,当然值得重视。

DM: 您已经是各种国际创意广告大奖的评委席座上常客了。从ADCN,到FWA,再到戛纳 CYBER LION,2012年您又将出席WEBBY大奖的评委席,从您的个人经验角度,说说这几个国际大奖之间的区别和分别的特色吧?

Yacco: 从我个人的经历来说,我认为:

  • Cannes Lion:原创商业广告中创意方面杰出代表作为主。
  • THE FWA:优秀的设计,出色的互动网站作品。
  • ADCN: 在制作上无可挑剔的广告作品为主
  • Webby: ;从威比的获奖作品中,能够感受到人性之爱,能够引起受众内心共鸣的作品。

创意追问之四:中国创意的戛纳梦究竟还缺什么

DM: 太多活动拿着“如何赢得戛纳,该怎么在戛纳获奖“之类的旗号作为噱头,我们互动中国其实从来不怎么推崇这样的方法论,多少会觉得不真诚。只不过,面对一个戛纳评委,还是忍不住想要为所有的中国创意同胞问一句:你们做评委的,究竟怎么看我们中国的创意作品啊? 差距究竟在哪里?

Yacco: 我觉得语言/文字依旧是重要的障碍。另外,我们发现提交的来自中国的创意作品总是会先说太多太多的背景铺垫,然后才说正题,其实,我的建议是,如果参加戛纳这样的西方广告节,也许应该把创意陈述说的越简单越好,千万别担心什么重要的铺垫我们不知道会让我们觉得这个IDEA不好之类的想法⋯⋯

DM: 有见过你特别喜欢的中国作品吗?

Yacco: 当然有,今年戛纳中国公司提交的为Samsonite制作的广告作品创意就很棒!我很喜欢!(好吧,果然还是上海JWT为新秀丽 Cosmolite演绎的《天堂与地狱》)

DM: 中国创意人对戛纳的重视态度毫不亚于西方人,我们一直潜心研究所有戛纳的优秀作品,渴望从中找到成功的创意方法,可是一直在学,成效似乎也就这样,您自己曾经为各大AGENCY都做过培训演讲,您觉得怎么样学习比较好?有什么好建议吗?

Yacco: 看到一件喜欢的好作品的时候,千万别看作品本身,这没用,必须回到这个作品背后的BRIEF,然后设身处地,若你接到这个BRIEF,你会怎么做?自己试着给自己出题,想出自己认为好的解决方案。然后将自己的解决方案和原本那件好作品进行对比,然后理解差异在哪里。这种学习方法也许比较费事,但一定来的更有效。

创意追问之五:岁月流逝时局变迁,创意人如何“保鲜”

DM:拥有15年资深广告从业经验的创意人,今天,却又选择开始另一段创意追求之路。回想我们身边有不少有着大把广告行业经验的创意前辈,其中不少都会有不同程度的“中年危机”现象。做广告人这么多年,还要面对时代的考验,尤其做互动更伤不起有没有?技术变化那么快,创新的东西一天一个样,怎么追求才是个头?西方广告人会有这样的困境么? 有好的方法和建议吗?

Yacco: 有一个很简单的办法,那就是多招一些年轻人到自己的团队,有意识地把上了年纪的“思维较传统的”互动广告人和年轻的互动人在一起“混搭”,这不仅可以使团队在技术上与时俱进,也能保持对新事物和新点子充满动力。当然,有兴趣的话,可以和我多聊聊,活跃下思维。☺

DM: 您做广告这么多年,如果有机会做个全新的选择,您想做什么呢?

Yacco: 还是一样,我爱我的工作!

DM: 平时您都是怎么培养创意,从哪儿找灵感的呢?

Yacco: 随时,随处。

DM: 最后,未来有什么跟中国有关的计划吗?

Yacco: 很高兴能得到华扬联众的邀请,有机会到上海和北京做了一次创意分享。我想,在12年有机会的话,我还会多来中过几次,与中国的朋友做更多的交流。

结语:

非常感谢Yacco先生接受我们的访谈,期待更多交流的机会。此外,还要感谢华扬联众组织的戛纳评委分享会,让我们有机会了解与结实更多国际广告界的朋友。也希望互动中国的每一次访谈都可以为我们本土的创意广告人带来一些收获和小小的帮助。

附件:案例参考

Stanislav: Strikes Again And Again


URL:http://award-entry.com/stanislav/

案例成效:
访问量: 5,113,115
有效受众: 500,000(持续受到2个多月的关注)
参与用户: 9,030,261 Hyves profiles (8,000,000 active)
有效触及荷兰当地人数: 16,500,000
转发视频人数: 7,014,285
转发率: 1,37
平均访问时长: 4,22 minutes
每秒访问人数: 11,59
每秒最高访问量: 2500
广告推出第一天访问量: 54,661
峰值日访问量: 2,505,690
媒体购买: € 2,500 (投放至Hyves Minisite)
获得媒体报道估值: € 1,200,000 (Source: Bex PR)
CPC:  € 0,0023
广告持续时间:  仅7天时间!

Full Credits:
客户: Dutch Ministry of Justice
广告公司:Kong (荷兰 Amsterdam)
创意总监: Yacco Vijn
文案: Martijn De Vreeze
美术指导: Arno de Jong, Yacco Vijn
制作公司:Mario Piepenbrink
制片: Christ Bloemheuvel
导演: Judith Lavalette, Roel Welling
剪辑: Roel Welling
其他工作人员:
Managing Director:  Peggy Wijtzes
Strategy Director:  Trudelies Van Der Poel
Senior Advisor Campaign Management:  Petra De Jong
Advisor Campaign Management:  Frederike Van Dorst
Policy Advisor:  Anja Van Zantvoort
Communications Consultant:  Dennis Cohen
Project Manager:  Tisha Hoppenbrouwers

 

Original

1.Introduce yourself shortly to our readers?

My name is Yacco Vijn and I‘m a dutch digital Creative Director from Amsterdam, The Netherlands. I’ve been working in digital for about 15 years.

2.You are going to join TBWA\NEBOKO Amsterdam as Managing Creative Director. What this change means to you? Will you still be the creative director of KONG meanwhile? Do you have any story to tell about this change?

I left the company I helped set up to join TBWA\NEBOKO. KONG is quite a small agency – about 10 people, which is quite different from TBWA\NEBOKO, which is around 230 people. For me this is a great challenge not only because TBWA\NEBOKO has been the biggest and most awarded agency for over a decade in the Netherlands now but also because they will be the first big agency here that will have a creative team from two disciplines (digital and integrated) as its Creative Directors.

3.What do you think the differences between traditional advertising and the digital advertising? What will be the future trend for digital ad? What is the future for small independent agencies in digital ad world?
I think the term Digital had eroded a bit. To me the future is integrated – I believe in the best solution to a brief and that can be anything. As long as whatever you come up with it is ‘worth sharing’ .

5.What is the key factor of a great creative idea in your opinion?
A great idea is exciting, it is something that you can explain to people in just a few sentences. A great creative idea is something worth sharing, something people like to talk about and work on.

6.A good idea might be appealing enough to consumers, but not certainly satisfactory to clients, coz clients always want to make effective ads. They would rather copy a successful case, execute in a similar way coz they think it is safe for the results; do you agree that innovative ideas are always taking risks? How do you think about this kind of dilemmas? What is the way out for creative people?

I believe that in the attention economy there is too much, and there will be much more, information. The only way to stand out is to be innovative and creative. I think the brands that get this, that want to be part of conversation, are the ones that will have the potential for enormous growth.

7.Ad industry is in a changing mode with the times. Digital media is a typical one in this case, even with bigger challenges for all people in digital ad world. What are the influences brought to creative men in this industry? In order to avoid “mid-age crises” that many ad people in China would suffer from, what do you think is the best way for creative admen to always catch up with times and keep innovative along the road?

Hire young talent. Mix up teams; put more ‘traditionally focused’ creatives with digital creatives. Keep consuming digital media to keep up to date about technology and use whatever you learn to make your ideas more interesting and more effective. And ofcourse, invite me to do a talk every now and then ☺

8.You have been producing music and were a globetrotting DJ before, at that time, did you think being listed on the annual “DJMAG TOP100 DJS “was a success for you? In the same logic. What all the international awards like Cannes Lion mean to you as a creative people?

I’m not sure if the DJMAG TOP100 DJS was around when I was a DJ. Cannes Lions – I think they are the Oscars of commercial creativity. They mean a lot to me since they are given out by the world’s very best creative minds. I think there is too many Award Shows in Advertising and only a few really count – like Cannes Lions, Webbys.

9.You have been the jury of Cannes Lion, The FWA, The ADCN and will be the jury of Webby Awards 2012, What are the differences between theses international awards? Especially for the criterion they hold.

I think Cannes Lions: highly original commercial creativity. The FWA: great design & interactive websites. ADCN: well crafted advertising. Webbys: Stuff that’s made with a lot of love and resonates with its audience well.

10.In China, people in Ad industry are taking much of time for studying and researching on successful ads & awarded cases, trying to find some rules or models as references. Is this kind of works should be encouraged? If the answer is no, what you think is the right way to study and enriching self-ability for creative people in ad industry?

Look at creative work and try to think what the briefing was and what you would have come up if that briefing would have landed on your desk – and how that’s different from the successful case. By doing this you’ll learn a lot.

11.Is there any ad works from greater China (TAIWAN, Hong Kong INCLUDED) impressed you much recently?
The Grand Prix in Cannes Lions Press for Samsonite – I loved that!

12.How much distance China’s digital creativity has when compared to the world? Anything want to share with china’s creative people?

I think the language / characters is difficult to the western world. And the fact that Chinese creatives tend to put a lot of layers in their work. I think to gain more Western success, it’s probably a good idea to go for Simple.

13.Where do you find your inspiration?
Everywhere and anywhere.

14.Given a chance, what you would choose to do as your career? Besides DJ/music producer and Interactive media.
What I do now ☺ I love my job!

15.Last but not least, do you have any further plan related with China? Thanks!
I loved doing talks in Beijing and Shanghai for Hylink and will be returning in 2012 for more sessions!

 

 


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