British Arrows 21|22

31 March 2022

British Arrows 21|22

Awards

Awards

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Burberry

Burberry

Over the years, I have been lucky enough to make a few ads that have had the same impact as Burberry “Open Spaces”. Cadburys Gorilla and Nike Londoner immediately come to mind, oh and yes, the first Burberry film, Burberry “Festive”. After each one I heard a lot of clients say, ‘we want one of those’, as if they are something you can buy ready-made off the shelf. No wonder when Cadbury “Gorilla” did increase sales by between 7% and 10% dependent on who is taking the credit. Which is incredible really, and does show the real power and possibility of advertising.
What these clients really wanted was the impact, the increase in sales, the fact that they transcended their brand’s category. Now that’s a big ask if you start out with a brand brief that lists their brand values and colour palette.
Apart from a very good simple idea what all those commercials had in common was two things:
– A CMO who had the ambition for their brand,
– And TRUST.
Which brings me back to Burberry.
Burberry briefed Riff Raff and Megaforce and, after a few collaborative sessions, they bought the ideas and let us make them. Naturally, we discussed casting, choreographer, locations and obviously wardrobe but fundamentally they trusted the talent they employed and worked with us. Of course, there were discussions; people passionate about any project will engage in healthy debate, but when you know they trust your talent it becomes a collaborative process, rather than
a dictated mandate. And in return we trusted them.
We didn’t focus on a more smiling take, argue over VO placement or endlessly debate what more we could put front of frame in a brand colour. A sofa anyone?
Burberry understood the impact the film’s idea would have as a branding film.
Burberry understood we weren’t selling a new show or jacket. They knew that in tandem the print, social media posts and “Digital Out Of Home” did that, using the simple idea Megaforce created to hang the campaign on. Burberry TRUSTED that the idea was powerful enough to provide the impact they needed from the film. In short, they trusted the people they hired.
I know it’s not always that simplistic and the Riff Raff/Burberry way of working may not be suited to some brands, but time and experience tells me this:
Have a simple idea, that you can add to.
Not a complicated one you can’t afford, that tries to tick too many brand values.
It’s easier to add than subtract.
Keep the number of people involved to a minimum.
Be an advertiser who trusts the people you employ.
Be an advertiser who trusts an agency for their ideas.
Be an advertiser who trusts a director and the reason you picked them in the first place.
Be an advertiser who trusts the production company.
Be an advertiser who trusts…
Try to be Megaforce. Be Riccardo Tisci. Be Rod Manley. Be Rachel Crowther.
Be Burberry.

Ringan Ledwidge (Posthumous Award)

Ringan Ledwidge (Posthumous Award)

It was with shock and great sadness that in November last year we heard that my friend and colleague Ringan Ledwidge was seriously ill, followed swiftly by the terrible hammer blow of his death at 50.
Ring was a both gregarious and yet also very private, very few knew that he had been very stoically battling cancer for some time.
Last September, I saw him in LA, he was happy, his prognosis was that he’d finally beaten his illness,
he was sitting in the sun with his new baby, his first child, and we talked about his eagerness to get
back to work. In a matter of weeks, he was gone, it was very shocking, a terrible loss to his family,
friends, colleagues, and as witnessed tonight, to film making and the craft of advertising in general.
Ring was undoubtedly in the very top tier of world class directors, his prodigious output was eclectic, ranging over all genres, he couldn’t be pigeonholed. If you were lucky enough to secure him to direct
your project then you knew you were going to get something special.
Ringan was a man with vast imagination, commensurate skill, an innate sense of humour, pathos,
and an ability to get believable and subtle performances from his cast. He could do sexy as well.
He created music videos, films and of course famous commercials.
One only has to look with astonishment at the body of work he leaves, the amount alone is remarkable, and that everything he directed was fantastically good is frankly almost irritating.
He leaves a plethora of well-loved, award-winning ads. I’m not going to list them, there are too many,
but we’ll see a short, extraordinary montage in a minute, put together by his long-term editor,
thanks Rich.
Ring’s legacy will, I’m sure, be of great use and inspiration to students of the future, thanks to bodies
like the British Arrows, the BFI, and others. It’s so tragic that he should have had many more years of creativity ahead of him, we’ve been robbed.
The thing is, the man himself was so nice, he was tall, handsome, affable, humorous, easy going,
loyal and generous to his friends, greatly loved and admired. A bit of a challenge to stand next to in
a photo call.
He worked by encouragement and inclusiveness, he liked a calm set and a good atmosphere. His confidence meant he didn’t need to be a caricature shouty dick head director, even in times of stress, which we know can occur in our business at times.
If I wanted to sum up what he represents, it’s the best of advertising filmmaking, he was an auteur, something becoming rarer in these days of creating by committee, he had a singular vision and was prepared to make sure it ended up on screen, inevitably the result would be an enormous
enhancement of the written script.
I’d like to thank the British Arrows for acknowledging Ringan and I know his legacy will be cherished
by not only his family and mates but also the advertising industry in general.

Award Categories

Award Categories

Book of the Night