D&AD The Commercials Book 1997

The book is about “directors whose first loyalty is to the film medium rather than the client and product.” (Simonds-Gooding in D&AD, 1997, p.6).

“As Orson Welles once put it, “a director is one who precides over accidents.”” (Simonds-Gooding in D&AD, 1997, p.6).

Commericals as well as feature film directors: “Both are in the seduction business. Both are looking to create visual images that steal up on you quietly, subtly winning you over, shifting your attitudes and working away at your emotions.” (Puttnam in D&AD, 1997, p.9).

“A great thing about animation is that audiences know that every tiny detail is hand-crafted, that nothing happens by chance or accident. This helps us enormously because it means that people are that much more attuned to picking up detail than they might be when they watch live action.” (Aardman in D&AD, 1997, p.10).

“Why do painters paint and paint and paint and end up killing themselves? Because they never do anything they genuinely love. They just keep going and keep trying and that’s the way I work.” (Aardman in D&AD, 1997, p.17).

“’The irony is that the whole thing is a psychological game. A game that tries to capture a piece of the consumer’s mind evoking feelings for the clients ad products we advertise.” (Ng in D&AD, 1997, p.100).

“I am never attracted to the ads themselves. I’m attracted to the game. I enjoy the mind game we play with ads. Trying to understand how the consumer’s mind works is the secret.” (Ng in D&AD, 1997, p.100).

“Advertising is art with a motive.” (Ng in D&AD, 1997, p.101).

“I’m often asked why I only do funny spots.

For me humour has a way of keeping things in proportion; it’s not creating this thing where one’s saying “hey buy our toothpaste, perfume, shoes, whatever; you’ll be more popular, happier richer, and life will be more meaningful.” I know this stuff sells but it’s always made me squirm,.” (Sedelmaier in D&AD, 1997, p.116).

“There are no gags in my spots. The humour comes from characters who are either trying to keep their cool in a crazy situation, or in denial that they’re even in a crazy situation.” (Sedelmaier in D&AD, 1997, p.117).

“I’ve heard people in the business say, “look, it’s just a commercial.” I think, whatever takes up your day you damn well better get some satisfaction out of it – or you’re just another putz.” (Sedelmaier in D&AD, 1997, p.117).

“I know it’s a cliché, but it’s like when Picasso was asked how he dared to charge so much money for a painting that only took 30 minutes. He answered that it actually took hi 45 years and 30 minutes. (…) You’re paying for a whole life.” (Tarsem in D&AD, 1997, p.117).