TAXI wisdom.

TAXI is a Design/Creative network I just recently discovered.
My humble apologies to those who have known about it for discovering it with such delay. Pero nunca es tarde si la dicha es buena and in this case, the reward is valuable.

Obviously the people running TAXI are doing a lot of great things. Great contributors, Portfolio Showcasing, Careers, articles and even interviews with brilliant Designers and Creative Directors.

And it is in the interviews section where I found this interesting interview with David Nobay, partner at Drogba5 Australia and the No. 1 most awarded Creative Director in Australasia.

I really like some of his thoughts about your portfolio if you are starting in advertising:

I’d rather see one brief, pushed out into every possible media opportunity, than 8 or 10 convenient couplets of poster and TV scripts.

On business partnership:

But passion is what keeps up the energy in a start-up. All of us expect the same level of commitment and honesty from each other. That sense of balance is a real key.

On direct mail and digital:

most people in adland dismissed what we did as “junk mail”, but at its very heart, the methodology was not dissimilar to the eulogy you hear from so-called digital gurus today: The science of accountability; The journey to a response; The sense of brand-utility. Attention/Interest/Desire/Conviction/Action.

Sound familiar? Twenty years ago, it was the rudiments of every successful mailpack, but today it’s just as current to the connectivity of the web. Sure, digital and mobile are a much more exciting palette to paint ideas with, but the basic challenge is the same: take people on a journey that’s based on them interacting, connecting and responding.

On being a creative leader:

Winning awards is easy compared to building a team of creative people who truly believe in you and your mission.

And about the present (not the future, refreshingly)

These are scary times for many. But for those of us who are comfortable with the currency of ideas, it’s also the most exciting period in our history.agency team.

And finally:

What is the WORD, which you think would reside and reverberate in the creative world for the next 10 years?

David Nobay>>Momentum.

If new business is your business.

Alex Bogusky offers great insights into their (CP+B) new business process:

1. Tell other people your dreams.
People would laugh and they would point and they would say “There go those guys that wanted to be great!” FAIL! But to succeed you have to risk failure. So eventually decided to tell the whole agency what we wanted to become. Our mission statement. We had a friend who was at Fallon in the early days and he had been a part of creating there’s and I don’t know if I remember it exactly but it was very simple and basically said that they wanted to be, “The most awarded agency in America.” We thought about what we liked about the ad biz and it wasn’t awards it was the culture jamming. So our mission became, “To create the most talked about and written about advertising in the world.” Within weeks the stalemate between the status quo and something new had been broken and the agency began to clearly move toward this new shared goal. Out of the thousands of little decisions that shaped our future you could feel that more than half were suddenly talking us someplace we wanted to go. I wish we had had the courage to do it sooner.

2. The clients you currently have are your true new business machine.
I see so many people overlook this. “If I only had a client like this or a client like that.” It’s key to have a clear idea in your head of the new ground you hope to break and the new case history you hope to prove with each new client before you start work. What is going to be different about the agency six months after the arrival of your new account? How is this new revenue and this new campaign going to make your agency smarter and more capable than it was prior?

3. Find some real passion in the building for the business or take a pass on it.
We have a rule that says we can’t pitch a piece of business unless at least one of the partners is passionate about that business. In the end you will be defined by your clients. There are no two ways about that. Such is the lot of the parasites of the business world. Agencies.

4. Don’t model yourself after other agencies.

Great points, all of them. My favorite is the importance of a mission that' s easy to embraced by people.

That makes the whole difference between being successful and not. Knowing who you are and what you want, and being able to communicate that.

PS: I also agree with the title of his post: if-you-have-to-be-afraid-of-something-then-fear mediocrity

Advertising is not a magnet of talent.

During an interview with Jeff Benjamin, the Interactive Executive Creative Director at CP+B, Jeff discusses the amount of talent available or the lack of enough talent rather:

It's not that we don't get talent, we just don't get the volume of talent that we need. We need to think about what we are doing to attract people.

We need (Google quality people) to come to our agency, but they are not interested.

What we value in this people is their entrepreneur spirit, they invention abilities, but the agency is not making and attractive pitch.

People want to make things that matter, but big advertising agencies are not perceived as the ideal place to the nurture entrepreneur personality.

The one question I ask during my interviews is: what's the last thing you invented? because I want to know that people can think and deliver ideas, passionate about making things that have not been made before, because it's a big part fo the interactive future.

Great points made by Jeff, that compliment perfectly with this post "the time is now" about how fear is killing creativity in advertising agencies.

We know where we are, we know what we need, the talent is out there, let's make this happen, let's rush forward into the future where advertising is again the magnet for crazy talent and rebels and mavericks.

what's the point of the story?

Ira Glass shares with us how to tell stories.

he’s talking about video production, but his points are easily applied to any other "creative" realm.

In this insightful series of videos he explores anecdotes and reflections and what they mean to the story.

But hidden within his "reflections" are some very interesting thoughts, like being in charge of telling a story means being ruthless editing what works and is interesting.

Finding a decent story takes more time than producing the story. Anybody in the creative field should spend enough time looking for stories.

Failure is a big part of success. You need to be on a schedule to produce things every week and before you know it, you will have something special, something people are going to want.

The most important thing for you to do is to do a lot of work. (my personal favorite)

The first couple years that you’re making stuff, what you’re making isn’t so good — it’s not that great. It’s trying to be good, it has ambition to be good, but it’s not quite that good. But your taste, the thing that got you into the game, your taste is still killer and your taste is good enough that you can tell that what you’re making is kind of a disappointment to you. A lot of people never get past that phase and a lot of people at that point quit.

And the thing I would just like say to you with all my heart is that most everybody I know who does interesting creative work, they went through a phase of years where they had really good taste and they could tell what they were making wasn’t as good as they wanted it to be. We knew that it didn’t have the special thing that we wanted it to have and the thing to do is — everybody goes through that. And for you to go through it, if you’re going through it right now, if you’re just getting out of that phase or if you’re just starting off and you’re entering into that phase, you’ve got to know it’s totally normal and the most important possible thing you can do is do a lot of work. Do a huge volume of work.

Two mistakes most people who start make are: we imitate the people who are already doing what we want to do.

But you need to be yourself. There is already a real one of who you want to imitate.

The second problem is that we tend to be interested about ourselves, but in most stories the other person is more interesting.

Make sure to watch all 4 videos on you tube.

You can't survive on content alone.

What drives the creative process of a Wired cover?

"Attention to details", says Scott Dadich.

I think that the information in the talk is interesting, but what my main take away is some people are natural communicators and some are not.

Perhaps regular people are suffering due to TED and FORA itself, who offer us such a range of amazing conference and talks, hosted by brilliant communicators.

The truth is, speaking, presenting or sharing information in front of a crowd is always hard and intimidating.

The more value to those who can be memorable and entertaining and unforgettable.

If focus groups were in charge of Human evolution.

It is not a surprise that creative professionals have a hard relationship with Focus Groups. Overall the type where ideas are subjected to approval and scrutiny.

That is why we need to watch this video and ask ourselves, what would have happened if?

Focus groups are an ideal tool to gather information about the consumer's needs and state of mind towards a category or product.

Safe to Fail.

If there is anything the last 6 months have taught me is this: Pixar is the most creative company in the world.

Look at that record: 10 films; 10 hits. An unmatched streak in the history of filmaking.

what is their secret? How can they create original, creative, smart and successful films one after the other?

According to their Chief Creative Officer J. Lasseter their mantra is: "It's safe to fail."

The trick is to make those mistakes as quickly as possible and move on, a philosophy Lasseter picked up from colleague and computer science pioneer Ed Catmull

"When you think about science, it's about experimentation, and 99% of the experiments fail, but you learn from the failures and you move on," Lasseter says. "That's the great thing about Ed. He's always wanting people to keep pushing, keep experimenting, keep trying, and we always learn and keep moving forward."

For all the technical advances that have impressed audiences about Pixar, Lasseter's greatest innovation has been to extend a principle of positive risk-taking to the creative process.

• He is adamant that teams not be allowed to sequester themselves or work too long without sharing their progress with others. Lasseter doesn't believe in mandatory notes, introducing instead what he calls the "creative brain trust" at Pixar, a peer-support strategy in which all the directors and key story people from around the company get together and selflessly help on one another's films. "It doesn't matter whose idea it is, the best idea gets used," he explains.

• "Make it great." That's the mantra I've been living with ever since, just do everything we can to make it great," says Lasseter, who found confidence in Jobs' relatively hands-off approach to Pixar over the years, trusting the creative talent to steer the studio in the right direction. Lasseter put into effect was dismissing the suits and shifting the focus from an executive-led operation back to an artist-driven enterprise, where the ideas for feature films "come from the heart" of individual filmmakers.

What I find interesting about Pixar and their "safe to fail" approach is that it is intuitive and insightful about the creative mind and the creative personality.

We creatives need that that door to experimentation always OPEN.

Because once you let go of the fears of judgment and failure, you can truly explore all possibilities, be your self, share your heart.

Its about working in the ultimate creative ecosystem where ideas are grown to become great ideas.