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HOW TO TELL A GHOST STORY
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OCT.26.12
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THE DRUM OCT.26.12 www.thedrum.com
VOLUME #33 ISSUE #22
Cover: courtesy of Rankin
www.rankin.co.uk
Rankin shot the poster for When the Lights Went Out, the
supernatural horror film set in Pontefract, West Yorkshire, directed
by Pat Holden and co-produced by Bil Bungay.
20
Bil Bungay, who provides an insight this issue into what happens when ad men make movies
31
26 Oct 2012
Is South West best? This regional focus concentrates on the creative marketing sectors in the
South West, catching up with agencies operating in the region
05 Leader
The Drum’s editor Gordon Young discusses the
innovation to be found in out of home advertising.
06 Agenda
Some of the latest insights and analysis
into the media and marketing industries.
13 People news
A round-up of some of the latest appointment
news, including the hiring of Mike Shackle as
executive creative director of gyro London.
INSIDE03
15 Out of home innovation
Out of home advertising is undergoing a revolution.
The Drum takes a look at outdoor innovations to emerge
from the Creative Out of Home Awards judging process.
18 Women in digital
As part of our series profi ling infl uential digital women,
Propel CEO Melina Jacovou speaks to Jocelyn Bull,
marketing director, Somo, about the growth of mobile.
COVER STORY
20 Admen take on the movies
With Halloween approaching, Bil Bungay of Beattie
McGuinness Bungay takes us through the experience
of conceiving and creating horror fi lm When The Lights
Went Out.
25 The Works
A round-up of some of the most interesting recent
creative work, including a series of prints created
by the Association of Illustrators for Ted Baker.
31 South West focus
The latest in The Drum’s series of regular regional
features focuses on the creative talent to emerge from
the South West, catching up with agencies operating
in marketing industries in the region.
44 MiNetwork update
We take a look at the nominees for the MD/CEO of the
year award, a public vote category at the MiAwards.
46 Last Word
Opinion editor Cameron Clarke rounds up some of
thedrum.com’s best read blogs from the past few weeks.
45 Jobs 47 Directory
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THE DRUM OCT.26.12 www.thedrum.com
conTRibUToRs THis issUE
joHn McLELLAn, foRMER
EDiToR of THE scoTsMAn
analyses the recent Panorama
investigation into the dropping
of the BBC investigation into
Savile’s conduct
biL bUngAy, foUnDing
pARTnER, bEATTiE
McgUinnEss bUngAy
writes on his experience of
what happens when ad men
turn their hand to movies
MELinA jAcovoU, cEo,
pRopEL LonDon catches up
with Somo marketing director
Jocelyn Bull in the latest of The
Drum’s profiles on influential
women in the digital space
jAnE AsscHER, MAnAging
pARTnER, 23RED looks at
the trend of brands
increasing their investment
in brand activation and
below-the-line activity
MARk LowE, foUnDing
pARTnER, THiRD ciTy takes
the last word this issue, looking
at the recent controversial
Wonga sponsorship of
Newcastle United
sTEpHEn LEpiTAk,
nEws EDiToR
stephen.lepitak@thedrum.com
THoMAs o’nEiLL,
AssisTAnT EDiToR
thomas@thedrum.com
cAMERon cLARkE,
opinion EDiToR
cameron.clarke@thedrum.com
kATiE McqUATER,
sTAff wRiTER
katie.mcquater@thedrum.com
giLLiAn wEsT, REpoRTER
gillian.west@thedrum.com
OuTdOOr nOw mOre
pixel Than pasTe
LEADER05
As ancient grainy pictures from the early days of photography
demonstrate, outdoor advertising has always been a feature
of our cityscapes.
Above the blurred pictures, of petticoat clad girls, or flat-cap wearing
men, are images of long forgotten health tonics, confectionary brands
and ladies hat suppliers.
Sometimes they are painted direct on to rough, soot blackened gableends,
or pasted in a chaotic mish-mash that proves that the scourge
of the fly-poster was as much a fact of city life then as it is now.
This is an industry that is not only as old as the oldest profession,
but as civilisation itself – it possibly emerged around the time of the
first cave paintings in the form of ‘Buy my Bison’ drives.
So that’s what makes it all the more surprising that the sector is not
only surviving the current digital revolution – but is actually excelling.
New digital screens grace the landscape. Interactive displays are
becoming more common. Posters that recognise the gender of its audience,
or dispense cakes or the seductive smell of baked potatoes have featured.
Near field communication, broadband technology and augmented reality
have taken it to the very cutting edge of modern communications.
Its strength seems to be that, in this social media enabled world, people
need something to talk about and things to share. And outdoor is perfectly
placed to pump-prime these sorts of conversations. Over the last couple
of years we have seen some great examples like the Lynx Angels in Victoria
Station, were passengers could watch themselves on a giant screen interact
with virtual angels who appeared to be standing next to them.
But more recently we have seen other examples that have taken
this concept beyond the realms of traditional outdoor. These include
the recent Red Bull stunt for example, which saw 8 million people watch
a live YouTube stream of a man breaking the sound barrier after freefalling
from the stratosphere.
Initiatives like this have made the whole out of home space one of
the most exciting and dynamic parts of the business. Which is why
The Drum has launched the Creative Out of Home Awards in association
with Clear Channel to recognise the innovation in this sector. You can
see some of our nominations for our inaugural event on page 15.
This work provides evidence that this business is now more about
pixels than paste.
gordon young, Editor
gordon.young@thedrum.com
Publisher/Editor: Gordon Young Associate Editor: richard draycott Assistant Editor: Thomas O’neill News Editor: stephen lepitak Opinion Editor: Cameron Clarke Staff Writer: Katie mcQuater Reporters: ishbel macleod, Gillian
west, Jen Faull Business Development Director: liz hamilton Business Development Manager: James mcGowan Directory Sales: Victoria swan Recruitment Sales: Tehmeena latif Marketing & Subscriptions: ayush
Kejriwal Design & Production Director: nick Creed Design/Production: amanda dewar, dane Brown Events Director: lynn lester Events Manager: Katy Thomson
Managing Director: diane Young Head of London Operations: andy Oakes Head Office: 4th Floor, mercat Building, 26 Gallowgate, Glasgow G1 5aB Tel: 0141 552 5858 Fax: 0141 559 6050
Original Design: stand Printed by: stephens & George magazines
THE DRUM is published by Carnyx Group Limited. The publishers, authors and printers cannot accept liability for any errors or omissions. Any transparencies or artwork will be accepted at owner’s risk. All rights reserved. On no account
may any part of this publication be reproduced in any form without the written permission of the copyright holder and publisher, application for which should be made to the publisher. © CarNyx groUP limiTeD 2012 iSSN 2046-0635

06AGENDA
marketing deals
Groupon UK & Ireland managing
director defends its offering
Four years ago discount website
Groupon brought daily deals commerce
into the mainstream, offering
users bargains and discounts
on spa treatments, fine dining and
hotels. Since its 2008 launch in Chicago
Groupon has grown at a rapid
place quickly expanding into some
48 countries.
However, in December 2010 the
Advertising Standards Authority (ASA)
referred the site to the Office of Fair
Trading (OFT) over ‘serious concerns’
after it broke UK advertising regulations
more than 50 times in less than a year.
In March of this year the OFT ruled that
Groupon needed to change its trading
practices, leading UK and Ireland
managing director Roy Blanga to admit
Groupon customers had “experienced
the negative side effects of our growth”
and that “we’ve messed up.”
Since then many have criticised
Groupon in the UK of lagging behind its
contemporaries such as Wowcher, LivingSocial,
regional sites such as itison,
and its US counterpart. Speaking to The
Drum, Blanga defended Groupon UK,
commenting: “Groupon is only two and
a half years old in the UK so it’s fair to
say the technology we have has not had
the time or the opportunity to ‘lag’.
“Many companies have tried to replicate
what we do – but none of them
have been able to develop as quickly
and engage with the level of businesses
as we have. What people tend to underestimate
is the dual nature of the Groupon
model. We are both a technology
company and an operational company.
You cannot deliver the service we deliver
without both sides of the coin.”
Blanga also defended criticisms that
the UK offering falls behind its US sister,
adding: “The US is Groupon’s largest
market and this is why most of our technology
is developed and tested there
before being rolled out to our other markets.”
David Katz, vice president and general
manager for consumer mobile at
Groupon agreed with Blanga, adding
the company was “actually pretty aggressive
about rolling out new offerings
into the UK market” and “it’s not entirely
accurate to say everything comes out of
the US.”
The latest Groupon offering to roll-out
onto the UK market in the near future is
The Drum catches up with Groupon UK and Ireland
managing director, Roy Blanga, to discuss criticisms
the discount site is lagging behind its UK peers.
Roy Blanga, Groupon MD UK and Ireland, and David Katz, global vice president and
general manager of mobile
‘Smart Deals’, which has been jokingly
referred to by chief executive, Andrew
Mason, as a feature to stop it “sending
pole-dancing offers to men.” Launched
in the US in February, the feature “enables
subscribers to enjoy a more
personalised offering with customers
receiving more targeted emails based
on their location, gender and previous
purchases,” according to Blanga.
Katz explained to The Drum how this
would also be incorporated into Groupon’s
mobile platform: “What we’ll be
doing is trying to organise deals so that
when you open the application for the
first time the deal that you’re going to
see is the most relevant one that is most
appealing to you. It’s not about having a
mobile specific deal, its more about how
we sort to make it easiest for you to get
the best deal that you want quickly.”
Blanga told The Drum that Groupon
“sees itself as the ‘go to’ destination for
people who want to try new and exciting
experiences,” continuing, “we see ourselves
as an experience-provider rather
than a voucher or discount website. We
are continuing to focus on technology in
order to grow.”
Part of that technology is mobile, and
in August Groupon launched a “substantial
re-working” of its mobile application,
which Katz explains was done
to “make the experience on mobile as
good as, if not better than, the experi-
ence on a desktop.”
Speaking about the mobile side of
Groupon, Katz explained: “Groupon
is in a fortunate situation as we are a
commerce company; I think some companies
who rely on mobile advertising
for their revenue struggle a little on the
mobile.
“For a commerce company like Groupon,
our business model transitions
onto mobile very easily. Users can do
the same things on their mobile device
as they can on desktop. From a business
point of view we make revenue in
exactly the same way, and so it’s really
very seamless for us.”
Despite complaints, stories of merchants
being unable to cope with
demand, claims of unfair pricing and
misleading terms of advertising, Groupon
still boasts over 38 million users
worldwide. The Drum asked Blanga how
he thinks Groupon is viewed by British
businesses, to which he replied: “With
many high street businesses struggling
in the current economic climate, we are
keen to be seen as a core part of a business’s
marketing mix, helping them to
bring new customers through the door.
“The Groupon offer is just the trigger
to get a new customer through the door.
Once they are there, [it is the merchant’s
chance to] develop a relationship with
them for the long-term, encouraging
them to return.”
www.thedrum.com OCT.26.12 THE DRUM
Acquisitions
and growth
WPP owned Grey Group will
acquire the majority stake in ArtM
Communications Group in China.
The deal, which is subject to regulatory
approval, will see the company, which has
offices in Beijing, Shanghai, Shenzen and
Guangzhou, will join the Grey Group.
New York-based digital advertising
agency Clash Group has announced
its expansion into the UK.
The announcement of the transatlantic
expansion has followed the company’s
acquisition of Vendari, a UK voucher comparison
site.
M&C Saatchi Mobile has announced
that it is to expand into Australia with
a new office in Sydney.
The office will be led by Sarah Di Mento
in the role of business development manager,
with Di Mento saying: “The Australian
market is ready. Our entry strategy is
very similar to what we’ve deployed and
been hugely successful with in the UK
and US markets, as well as our recently
opened South Africa office.”
Chime Communications is to wholly
acquire pH Associates in a deal that
Could be worth up to £14m.
The deal to buy the pharmaceutical
data agency will see an initial considering
of £6.07m paid in cash, and £0.85m
in working capital of PHA at the time of
acquisition.
The Mission Marketing Group has
acquired balloon dog for a deal
worth £3.2m.
The multichannel marketing agency,
which has offices in London and Norwich,
offers a range of marketing services,
working with Aviva, Barclaycard, Pret a
Manger, and Rightmove. The agency recorded
a pre-tax profit of £0.7m last year,
with a turnover of £6.3m.

THE DRUM OCT.26.12 www.thedrum.com AGENDA07
marketing
IPA Bellwether survey reveals
marketing spend decline forecast
The latest IPA Bellwether survey has
found 23 per cent of companies likely
to reduce marketing spend, with only
18 per cent planning to increase their
spend. This is the second downward
revision of the year.
Reasons given for the downturn in confidence
relate to the slowing of the global
economy and a lack of resolution to the
Eurozone sovereign debt crisis.
Online budgets were revised higher,
with the net balance growing from 5.1 per
cent to 7.1 percent, with online advertising,
search and SEO spend growing by 5.2 per
cent, while all other communications categories
set to fall. Below-the-line will decline
by the highest degree, it has been claimed,
while direct marketing and sales promotion
will also decline.
IPA president Nicola Mendelsohn commented:
“The message provided by the
Bellwether survey is consistent and indicative
of the economic situation as a whole
which is one of underlying stagnation. We
had hoped when the year started that
things were picking up but as time has
gone on the economy has stuttered and
confidence isn’t particularly strong. We had
hoped for growth but are instead looking at
a flat market. Although this is disappointing
it is by no means terrible. The outlook
for UK economic growth in 2013 is looking
better than this year so consequently
Reaction fRom the industRy
Keith Hunt, managing partner, Results International:
“The latest Bellwether report certainly makes for
depressing reading. Yet it’s important to remember that
not every business in the industry is suffering. What we
are seeing are winners and losers, with some digital
disciplines doing better than more traditional areas. In
our work we see agencies in high growth areas such
as data and digital doing well as marketing executives
recognise that they deliver the best returns for their
brands. Agencies with a more traditional skill set should
be thinking hard how to get a better ROI or getting into
these growth areas themselves, fast.”
Tim Hipperson, chief executive, G2 Joshua:
“The latest IPA Bellwether report paints a gloomy outlook
on marketing spend for the rest of the year, however, if
the priorities of customers are put at the forefront and
acted upon with immediacy through the use of intelligent
and connected marketing, then 2013 will offer a far
more prosperous picture. Cash-strapped consumers are
looking for brands that offer them relevancy, engaging
Marketing budgets have been revised down for the
second successive quarter, taking figures to their
most extreme in three years.
we are expecting a relative improvement
in marketing spend. We shall see what Q4
and the year ahead brings but the advertising
and marketing industry is certainly not a
market in decline.”
Chris Williamson, chief economist at
Markit and author of the Bellwether, added:
“Disappointing sales and revenues prompted
companies to cut their marketing budgets
again in the third quarter, reflecting the
weaker than expected economic environment
than many had hoped to be operating
in. The modest increase in budgets that
had been set at the start of the year looks
instead to turn into a reduction in spend
compared with 2011, as companies seek
to reduce costs. It therefore seems likely
that marketing spend will have fallen for a
fifth successive year.
“The Bellwether is consistent with other
surveys which suggest that the official data
overstated the weakness of the economy
in the first half of the year, but also suggests
that economic growth slowed, and
perhaps even stalled, in the third quarter.
With business confidence falling further in
the third quarter, prospects also look rather
subdued for the rest of the year.”
content and value for money delivered as soon as they
request it and the marketing industry needs to tap into
these demands to reap the rewards.”
Nick Jefferson, MD, gyro London:
“Work comes home. Home comes to work. Our lives
are portable. And the devices we are using – iPhone
5, Kindles – are only getting faster and better. It makes
perfect sense that more spend would gravitate to digital.
It also makes sense that there is a greater emphasis on
SEO and being found. The crowd is arriving in throngs
to digital properties and as with any channel, it’s up to
marketers to stand out.”
Renee Joyce, marketing manager, Tangent Snowball:
“Research from periods of economic downturn has
consistently shown that brands who invest in marketing
are the ones who grow market share and revenue. It’s up
to agencies to continue to work more closely with clients
to understand the real pain points and devise strategies
around this with tangible measureable outcomes.”
advertising
TV takes 61% of
global advertising
spend
TV advertising still accounts for 61
per cent of global ad spend, Nielsen’s
Global AdView Pulse found, although
TV investments have declined 2.2 per
cent in Europe in the first half of 2012
compared to the first half of 2011.
The research found a 7.2 per cent
global gain in internet advertising, with
an 11.2 per cent increase in this sector
seen in Europe; while magazine spending
fell significantly in both Europe and
North America.
Outdoor and radio ad revenues were up
in all areas measured, while cinema saw a
slight gain in Europe of 0.4 per cent.
The report concluded: “Gains in areas
such as Internet (+7.2 per cent), radio
(+6.6 per cent) and TV (+3.1 per cent)
offset the 1.3 per cent decline in magazine
spending in the first half of 2012,
leading overall advertising investment to
be up 2.7 per cent.”
marketing
Staff levels up
but budgets down
Warc’s Global Marketing Index has
seen a slight decline for all regions’
measures in marketing budgets, trading
conditions and staffing levels from
September to October, with marketers
in the Americas most positive.
The research also found that conditions
in Asia Pacific are also generally positive,
while the figure is negative in Europe.
The report explained: “There were
mixed signals from the three individual
components that contribute towards the
headline GMI metric.
“The index for global trading conditions
remains unchanged in October on 54.7.
Within this, the Americas index value
signalled rapidly improving conditions
(60.0), with Asia Pacific and Europe also
positive, on 54.3 and 52.5 respectively.
“Globally, the index for marketing budgets
registered a value of 48.8 in October.
This represents a marginal month
on month improvement, but indicates
that marketing budgets are generally decreasing.”
It adds that staffing levels has ‘continuously
been in positive territory over
recent months’, with the levels rising
in all regions.

08AGENDA
sponsorship
Do Armstrong sponsors
have a case for fraud?
As Nike claims it was ‘misled’ by Lance Armstrong,
Ben Griffin of the Fraud & Risk Services team at
national law firm Cobbetts LLP considers whether
sporting cheats could not only expose themselves
to public disgrace, but also to claims of fraud.
During his reign as Tour de France
champion, Lance Armstrong was a
sporting superstar, with some of the
top brands in sport clamouring to be
associated with him. However, with
the recent publication of a report labelling
him a ‘serial cheat’ and alleging
that he systematically used performance
enhancing drugs, the question
of whether he deceived sponsors and
employers for financial gain has come
to the fore.
Indeed, this question is certainly one
Nike’s bosses may now be asking, after
the global sports brand dropped Armstrong
on the basis of “seemingly insurmountable
evidence that he participated
in doping and misled Nike for more than a
decade”. Bike maker Trek and Budweiser
brewer Anheuser-Busch have also now
dropped Armstrong.
In English law, Armstrong’s sponsors
may have grounds to argue that they
have been victims of fraudulent misrepresentation.
This is on the basis that he
would have represented to sponsors that
there was a benefit to being associated
with him at the same time he was, according
to the US Anti Doping Agency
(USADA), taking performance enhancing
substances. The sponsors, Nike included,
would have paid substantial sums for
the supposed benefit of being associated
with him at this time.
However, Armstrong has denied doping
(though he chose not to contest USADA’s
claims). Furthermore, the brands associated
with him during his prolonged period
of dominance in cycling’s biggest race will
no doubt have benefited from the profile
he gave them at the time and as a result,
may not have suffered a loss – which is
vital if they were to pursue a claim.
It is also doubtful whether their brands
have truly been tarnished by association,
as it could be argued that only true cycling
fans can remember the bike he rode
or who sponsored the kit he wore on Alpe
d’Huez in the 2004 edition of the Tour, or
indeed, in any other race.
In addition, the teams for which Armstrong
rode, could, theoretically, have
claims against him. A parallel can be
drawn with the situation where job applicants
falsify of qualifications in order
to secure employment. In some cases
of such falsification, the applicants have
been subject to criminal sanctions and
employers have pursued civil proceedings
for recovery of salary paid to them.
In an employer-employee relationship,
the employee is subject to a duty
of good faith and therefore must not act
in a dishonest manner or in a way that
would be detrimental to the employer.
It is arguable that such a duty could be
established between Armstrong and the
teams he rode for.
The only fraud that we can say Armstrong
(and a large number of riders in the
professional peloton) is perhaps guilty of
is one against the fans.
pr
Fans of The Thick of It will join me in
spotting the parallels between the last
episode and BBC director general
George Entwistle’s appearance at the
parliamentary Savile inquiry.
I am typing as Entwistle takes to the
gallows, sorry, parliamentary enquiry;
the media ready and poised to judge his
statements and either release the trapdoor
or let him struggle on his job.
Let’s not beat around the bush though,
I think many in the PR and media sector
think that this will need a Herculean public
relations fix for Entwistle to survive.
In fact, if any one man needs a Malcolm
Tucker figure, it is George. But what are
the tried and tested media options to help
Entwistle survive? Let’s take a look.
Apologise and apologise hard – TICK.
The first apology from George and Team
BBC came on 12 October. He started
today’s appearance with several humble
words about the gravity of the situation.
Announce an urgent internal investigation
– TICK. Again, announced on 12 October.
This is where you assure people no
stone will go unturned in your organisation’s
attempts to find the root of the problem.
The BBC has gone a step further and
announced two investigations. Boom…
Sack people at a senior level – Operation
Scapegoat: NOT YET. George needs
to make sure he is not that scapegoat.
The buck may well stop at the most
senior person within an organisation, but
savvy senior folk make sure that there is
www.thedrum.com OCT.26.12 THE DRUM
Tips to save Entwistle
from the BBC trapdoor
As the BBC gets ever more embroiled in the Savile
row, director general George Entwistle was hauled
up to a parliamentary inquiry. Here, Andy Barr of PR
agency 10 Yetis offers a Entwistle a handy crisis PR
guide that could save him from the sack.
a buck shaped funnel that points elsewhere.
Expect former director generals of
the BBC to be dragged into the debate
and blame to be directed their way.
Leak a bigger story to divert attention –
NOT YET. Unless pictures emerge of Gary
Lineker having a sex-orgy with a bevvy of
otters (not likely, Gary is a lovely guy) there
is little the BBC can do to shake this. Even
the Sunday Times’ story on MPs’ second
home BuyToLet swindle this weekend
could not budge Savile off the news.
Start a war – NOT YET. Political PR 101
to recover failed ratings. America and the
UK have done this to great effect in the
last 30 years. Who can the BBC start a
war with? Well, that is the difficult one
given it is an organisation riddled with
cardigan-wearing lefties. Maybe this is
the time where Entwistle starts a war with
the BBC DG that was in charge during
Savile’s time. If they are still alive.
Female spokespeople – NOT YET. The
PR overlords at the CIPR (stands and
salutes) recommends as part of its crisis
comms planning that brands in a bit of
doo-doo put forward females to front off
the media. Apparently women appear
more sincere. What a shame the BBC did
not heed corporate governance advice
and get more women at the top of the
tree. Maybe time for George to become
Georgina?
Smear the people investigating you –
ERM – this is the BBC, they don’t do this.
Do they?

THE DRUM OCT.26.12 www.thedrum.com AGENDA09
MEDIA
How Savile reminded public there is a lot
going on they should know is going on
As Rab C Nesbitt might have put it,
Jimmy Savile wasn’t just a creep,
he was a creep’s creep. No, he was
worse than that. Much worse.
Revelation after revelation continues
to pour out about his perverted behaviour.
200 alleged victims and counting. It
seems everyone who has ever had anything
to do with him is falling over themselves
to say that they had suspected as
such, heard the rumours, couldn’t prove
anything, had to keep quiet, etc.
Except now we know there weren’t just
rumours; there were real allegations made
to the police by real victims. A report was
sent to the Crown Prosecution service,
but without witnesses prepared to testify
in court, there could be no guarantee of
successful prosecution and the case was
dropped. (Phone-hacking, Hillsborough,
Jimmy Savile? Is there is a pattern emerging
of strangely curtailed police activity?)
We know there was enough evidence
for Savile to be quizzed both by police
and the BBC. As far back as 1980, even
I heard the rumours while a student, from
a fl atmate whose father worked in TV in
Leeds. Savile was a well-known pervert
but the police didn’t have enough to
charge him, he told me. 32 years on and
they can only nail him now he’s dead and
can’t lie his way out of another inquiry.
Now we know we weren’t wrong to
fi nd his groping of young people on Jim’ll
Fix It disturbing. So why didn’t the producers?
How could someone who made
so many people feel, at the very least,
uncomfortable, manage to maintain a
position as national treasure for so long?
Looking back at the footage, it’s clear
the blatant sexism wouldn’t pass today
but it now seems it was more than just
eccentricity or a lack of political correctness
which was tolerated at the BBC.
At least on this occasion we can’t say
that illusions have been shattered, as
with John Simpson’s claim about Derek
McCulloch, the legendary children’s
radio presenter. Unless we are talking
about the illusion the BBC deliberately
created, of course.
Admittedly, proof of such behaviour is
not easy to come by. Newsrooms are full
of rumours about well-known people and
their shenanigans, none of it printable.
That’s the stuff you haven’t heard
about at the Leveson Inquiry. All the stories
journalists haven’t printed because
they don’t know for sure they are true.
I have long found it ironic that while
John McLellan, former editor of The Scotsman,
now communications director for The Scottish
Conservative Party, comments on the Panorama
investigation into the BBC’s decision to can its
own investigation into Jimmy Savile’s conduct.
the most common accusation levelled at
journalists is that they make everything
up, the biggest inquiry into press standards
has been over material obtained to
ensure stories were totally reliable.
So for all the bleatings about an unrestrained
press from the likes of Charlotte
Church and Hugh Grant, perhaps we
should thank Jimmy Savile for reminding
the public there is an awful lot going on
they should know is going on, but the law
makes it virtually impossible to reveal.
We have gone from “How did they fi nd
that out?” to “Why didn’t they tell us?”
Journalists can’t win.
The BBC is now engulfed by a different
problem. Newsnight knew about Savile; it
had the witnesses but it didn’t broadcast.
Panorama aimed to reveal why, in what
must go down as one of the most bizarre
episodes in modern British journalism.
The comparison in newspaper terms
would be an investigation published in
the feature pages about why the news
department hadn’t revealed the paper’s
recently deceased star writer was a paedophile.
And that the order not to publish
came from the managing director.
It was certainly a gripping show, if for
no other reason than watching one part
of such a familiar organisation ripping the
rest of it apart. I had to keep reminding
myself I was still watching the BBC, so
devastating were its criticisms.
There is now little we don’t know about
Savile’s depravity; vomit-inducing, as
Paul Gambaccini described it. But to see
reliable faces like Nationwide’s Bob Langley
reveal he witnessed him leaving his
caravan with underage girls showed just
how far we have come from the age of
TV innocence which allowed people like
Savile to get away with what they did.
Listening to victim Karin Ward’s moving
testimony with the knowledge Newsnight
had corroboration from other witnesses
makes it all the more diffi cult to understand
why the investigation was halted.
And it was astonishing to hear reporter
Liz MacKean accuse the Corporation of
misleading the public about the reason.
That being said, the Panorama team
failed to stand up the central allegation:
that the probe was stopped because of
pressure from senior programmers so a
Christmas tribute could go ahead. It is
clearly more than just an embarrassment
that the beatifi cation fronted by Shane
Ritchie was broadcast by one bit of the
BBC when another possessed solid evidence
of Savile’s sordid past.
It may yet emerge that such pressure,
so far denied, was in fact applied but the
show could not fi rmly establish the link
beyond the allegations of the journalists
whose work was spiked. For now, the
strongest accusation which can be laid
is despite having an on-camera witness,
corroboration, a police investigation and
a subject who could not sue, the programme
editor Peter Rippon simply did
not have the bottle to broadcast.
And for a journalist, maybe facing a
charge like that is as bad as it gets.
EVENTS
The new Drum Design Awards
purely recognises great design
work being produced by agencies
across the whole of the UK. Focusing
only on design, categories
will cover graphic, digital and
environmental design, with the
awards being judged by a panel
of designers who have extensive
industry experience.
Register and entert at thedrumdesignawards.com.
There’s only a few weeks left for
you to get your tickets to this
year’s MiAwards. Join us on 15
November at the Mercure Piccadilly
in Manchester where the
winners will be revealed. For more
information and to book tickets
visit miawards.me.
The Drum Marketing Awards
2013 will be launching very soon.
To get your hands on one of
the industry’s most sought after
accolades – you have to enter!
Register your details online at
thedrummarketingawards.com/
register to be kept up-to-date
with entry deadlines and other
news.
Tickets for the Cream Midlands
Awards, sponsored by Pitch,
are available to buy online
at midlands.creamawards.
co.uk/book. The winners will
be revealed at the Jam House,
Birmingham on Wednesday 7
November.

oooh!
intermarketing.co.uk/oooh

THE DRUM OCT.26.12 www.thedrum.com AGENDA11
digital
The day 60 digital agencies visited 60 high schools
D-Day took place on 10 October and
saw 60 digital agencies paired with
schools across the UK to complete
challenges and address the digital
skills gap. As a media partner of the
BIMA initiative, The Drum ran a live
blog of the day to highlight the educational
value of the initiative.
At present, 1.5 million people are employed
in creative industries or in creative
roles in other industries, accounting for 5.1
per cent of UK employment. Employment
in digital has also grown at twice the rate
of the whole economy, yet digital skills are
often overlooked in the classroom.
As part of The Drum’s coverage of
the initiative, reporter Gillian West joined
Govan High School and its partner
agency, Spider Online, to experience
BIMA D-Day first hand. In a presentation
to the class, John Campbell, MD
of Spider Online, discussed the value
of digital as a career “you can fly” in
very early on, adding: “Digital is making
money right now, and this is the worst
recession since the 20s.”
After Campbell had spoken, the crux
of the day got underway as the pupils
began work on their BIMA D-Day challenge.
There were six challenges in total
– design a mobile app, an innovative digital
solution, a social media campaign,
web coding, or multimedia content.
Pupils from Govan High chose the social
media challenge which saw them devise
The British Interactive Media Association (BIMA) recently brought together 60
digital agencies from across the UK with over 1,800 school pupils. The D-Day
challenge looked to address the digital skills gap in the UK, with the initiative
pairing schools with local agencies to educate students about digital careers
through hands on advice.
a social media campaign for a new café.
The Drum’s live blog coverage of the day
asked pupils and agencies to join us by
tweeting using the hashtag #BIMADDay,
and roles were reversed as the pupils at
Govan High taught computing teacher Mr
Mullen how to tweet.
It seemed Mr Mullen wasn’t the only
one learning new digital skills, as one
of the recurring themes of the day was
the level of knowledge and insight of the
school pupils involved. Abi Ellis from LBi
told us one of the pupils at its partner
school, Woodside High, had “explained
the virtues of passbook iOS6 to me in
great detail. [He’s the] best coder in the
school, so they tell me. Seems like I’m
learning a thing or two today.”
Phil Heywood of Redweb, partnered
with Avonbourne College, commented:
“My big revelation for #BIMADDay was
going to be user centred design. Turns
out the students at #AvonbourneCollege
already knew! #smartkids”
Kristal Ireland, Enjoy Digital’s strategy
director, was also impressed by the pupils
of her partner school, David Young Com-
munity Academy. In her D-Day reaction
piece for The Drum she wrote: “What
was most impressive was the level of
digital skillz (I’ve been told z is the cool
thing now) that some of the pupils had.
One 16-year-old in our group had a great
understanding of HTML, CSS and could
use Photoshop. He came up with a very
innovative iPhone app, but what was the
most impressive was how excited he
was about how to market the app and
importantly monetise it. A great commercial
head for someone of his age!”
Pupils across the country were also
very familiar with the use of social media
and had expectations about how companies
should handle customer service
queries through these channels. Ireland
commented on this familiarity in her analysis
of the day, explaining that one of the
revelations of the day was the discovery
of pupils’ digital knowledge: “A standout
quote of the day came from one of
the Multimedia teachers, who said, ‘the
students don’t understand the concept
of “digital”; it’s just how their lives have
always been’.”
When The Drum spoke to teachers
at Govan High, they echoed this, saying
there is a real passion for digital amongst
their pupils, but their knowledge of social
media doesn’t come from the school.
“It’s in their lives, they use it every day.
We can’t get access to the likes of Twitter
in class but they all have it on their
phones, that’s how they know what to
do,” explained business management
teacher, Sonja Kerr.
Codegent co-founder David Hart
made a similar comment on The Drum
live blog: “Scary and heartening that digital
comes so naturally to teenagers who
have grown up with it.””
With digital growing on an almost daily
basis, it’s clear to see more initiatives like
this are needed to get kids into a thriving
industry, something mentioned by John
Campbell in his presentation to Govan
High: “Forget colleges and uni, it’s school
level you need to start at.”
Echoing this was LBi’s Ellis, who said:
“These are coders, planners, designers,
imagineers, makers, movers and shakers
of the future.”

20 200
20% 15% 25% 18%
2 %
0%

THE DRUM OCT.26.12 www.thedrum.com
Pelliet to head up
Sony European
marketing
Following news that
Sony is to cut 1000 jobs
in its Europe division,
the brand has appointed
a new group of marketers
led by Gildas Pelliet as European
head of marketing.
Pelliet, formerly the Sony UK and Ireland
MD, will be based in the Weybridge
office and will be supported by nine
platform and product marketing heads.
It has also been revealed Shaun Dorrington
will be the head of marketing in
the UK while Matt Coombe has remained
as head of brand and consumer activity.
G2 appoints
Wolfram as CTO
G2 has announced the
Frank Wolfram as chief
technology officer for its
EMEA region, beginning
in January 2013.
For the past 12 years Frank has
been CTO at SYZYGY Group, a fullservice
digital agency, and previously
worked as an independent software
consultant.
Yahoo! hires
Google exec
Yahoo! CEO Marissa
Mayer, on her first day
back from maternity
leave, announced the
hiring of senior Google
advertising exec Henrique de Castro
as Yahoo!’s COO.
De Castro will initially work from the
Yahoo! London office because he does
not have a US work visa. The company
said he will transfer to California as soon
as he can obtain one.
Gyro London appoints
Shackle as executive CD
Mike Shackle has been appointed
as executive creative director
of gyro London, replacing Ian
Kerrigan who leaves next month.
Shackle, the former creative director
of TBWA\Singapore and Y&R/Enfatico
Beijing, will aim to bolster the agency’s
creative offering, working across all of
the London office’s accounts, including
Virgin Atlantic, FedEx, HP, L’Oreal,
Google+, Audi, American Express and
Shell.
Nick Jefferson, managing director of
gyro London, commented that Shackle
is “a true creative leader”.
He went on to say: “As a Brit who
has lived and worked in Asia, North
America and Europe, he brings a truly
international perspective to our global
network. With Mike, gyro London will
reach its next level in its unstoppable
pursuit of creative innovation and
thought leadership for our clients.”
Shackle meanwhile said of his appointment:
“In this day and age, it’s
even more important than ever to create
work that ignites real human emotions.
After working in Asia and the
States, it’s exciting to come home to
join an agency that has that belief ingrained
into its DNA.”
Grey lands Saatchi &
Saatchi design director
Grey London has announced the
appointment of Steve Davies to head
up its design department.
Davies, previously design director at
Saatchi & Saatchi, will oversee design
output across all platforms in his new
role.
He said: “I’m very proud of what I’ve
achieved at Saatchi & Saatchi in regard
to building a great design department,
but Grey is clearly an agency on the
up and this was an easy decision to
make. They’ve got a fantastic roster of
clients – clients you wouldn’t have expected
them to have five years ago –
and are already producing some really
high-quality stuff. I’m looking forward to
building up the department and taking
that even further.”
starts with the right pitch.
Creative / Account Handling / PR recruitment
pitchconsultants.co.uk / info@pitchconsultants.co.uk / 0121 270 4080
PEOPLE NEws13
Every great relationship
As well as being responsible for the
development and direction of Grey London’s
design department, Davies will
report to executive creative director Nils
Leonard.
Leonard said: “Grey London is about
world class talent, and Steve is up there.
He shares our vision to create not just
ads, but popular culture and he’ll take
our aesthetic thinking to the next level.”
People on
the move...
Leo Burnett USA
has appointed Mick
McCabe as chief
strategy officer,
where he will oversee
research, analytics, shopper
marketing and brand strategy.
ASOS has appointed former
Amazon UK boss Brian McBride
as chairman, while M&S executive
director of general merchandise
Kate Bostock joins as executive
director.
Woolley Pau Gyro has brought
in Andy Jones, previously creative
director at Ogilvy Healthworld,
as creative director.
Carat has
announced Anne
McCreary as digital
strategy director,
joining from her role
as lead digital strategist at Skive.
Guardian News & Media has
announced the appointment of
Wolfgang Blau as digital strategy
director, beginning next April.
Haygarth has
appointed Benoit
Cacheux as head
of digital having left
Omnicom agency
Organic where he headed up
its London office.
The RSPCA has announced
the appointment of John
Grounds as its new director
of marketing and campaigns.
Adobe has
appointed Jeremy
Waite, formerly
head of social
strategy at TBG
Digital, to handle its social
strategy for EMEA.

NIELS SHOE MEULMAN
JOINS CREATIVE SOCIAL
GLOBAL INSPIRATION DAY
NOV 9TH
OLD ST.
LONDON
elle@creativesocial.com
creativesocialgid.eventbrite.com
Photography by Adele Renault

THE DRUM OCT.26.12 www.thedrum.com
Armed with new digital technologies,
out of home advertising has become a
linchpin for successful media executions,
connecting key components of an
integrated strategy.
Red Bull took its trend for content producing to the
extreme in an out of home advertising stunt that was
out of this world with Felix Baumgartner’s leap from
the skies.
Baumgartner’s record-breaking skydive didn’t just
push at the boundaries of human possibility but was
also an example of marketing without limits. Red Bull
had funded and conceived a stunt that captured the
world’s imagination, with the live stream of the jump
viewed by millions globally.
As well as sharing of such high-profi le out of home
stunts, social media and mobile enable advertising to
transcend the immediate space – from billboards to
subway posters – with out of home communications
now being consumed inside the home as well as on
the go. The sharing of innovative ads or memorable
stunts means even just one billboard can be
consumed by millions.
One such example, nominated in the experiential/
ambient and special build categories at the inaugural
Creative Out of Home Awards, is the live bacteria
billboard designed to promote Warner Bros fi lm
Contagion. Created by CURB Media, and developed
by microbiologists to ensure the stunt would work,
the name of the movie gradually appeared as it grew
from live bacteria, fungi and mould.
Despite only appearing on two boards in a disused
shop front in Toronto, the ad went fi guratively (as well
as literally) viral thanks to YouTube and social media,
and was consumed by millions worldwide.
Paddy Power was certainly counting on the power
of word of mouth with its tongue-in-cheek out of
home antics over the course of the summer. If its
defi ant billboard ad poking fun of strict Olympics
advertising guidelines didn’t get consumers talking,
then the stunt involving footballer Nicklas Bendtner
fl ashing boxers emblazoned with the Paddy Power
logo certainly did. The brand also came under fi re for
its controversial customising of the Uffi ngton White
Horse.
Traditionalists may argue that Paddy Power’s
antics don’t fall into the category of out of home, but
its approach of seeding social conversation around
its cheeky stunts is just one of the new faces of out
of home in 2012 – and this approach challenges
OUT OF HOME15
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The advertising industry’s oldest medium is undergoing a change
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unveiled a raft of entries symbolising the new out of home.
Paddy Power
outdoor stunts
this year include a
challenge to Olympic
advertising rules,
Nicklas Bendtner’s
lucky pants and the
customisation of the
Uffi ngton White Horse

19 NOVEMBER 2012
200 ALDERSGATE - ST PAUL’S
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A Day of Facebook
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Vincent Sider
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the DRum OCT.26.12 www.thedrum.com
the boundaries of the sector, opening it up to new
possibilities.
Another example which emerged from the Creative
Out of Home Awards judging process was the
Forza Motorsport out of home campaign for Xbox
by UM London. Integrating outdoor posters with
an experiential build in Westfield shopping centre,
the campaign typifies the innovation to be found
in out of home, combining high impact creative
with a memorable experiential campaign to seed
conversation. The build provided an interactive
element, asking consumers to choose the various
elements that would make up the real life build of the
car, as they would within the game.
So no longer is out of home about static posters
visible only to passers-by. The medium is becoming
far more interactive, fuelled by advances in digital
technology and the meteoric rise of social media.
Advertisers who seek to integrate these elements into
campaigns will reap the rewards.
The inaugural Creative Out of Home
Awards has been organised by The Drum in
association with Clear Channel to recognise
and reward the growth in innovation in the
out of home sector, with categories ranging
from experiential/ambient to use of live
updates.
Judging took place on 10 October at
Clear Channel's offices, and the panel was
chaired by John Jessup, creative director,
Leo Burnett.
The awards ceremony will take place
on 22 November at the Emirates Stadium,
London.
The full list of nominations can be viewed
at creativeoutofhomeawards.com.
out of home17
Viral marketing takes on a whole new meaning with this billboard created by CuRB media for Warner Bros film
Contagion, and nominated at the Creative out of home Awards.
um London’s out of home and experiential forza motorsport
campaign for Xbox, which has been nominated in
categories including innovation at the Creative out of
home Awards.

18girl guides www.thedrum.com OCT.26.12 THe druM
upwardly
mobile
in our latest installation in a series focusing on influential
women in digital, melina Jacovou speaks to Somo’s Jocelyn bull.
Earlier this year Somo was named ‘One to
Watch’ in both The Drum’s UK Digital 100
and New Media Age’s poll of the top 100
interactive agencies, as well as being lauded
as the fastest growing mobile company in
Europe in the Media Momentum Awards.
Established in 2009, the mobile specialist has already
expanded its operations from London to the US and Asia,
and works with massive clients – Audi, Paddy Power,
Disney and The Times, to name just a few. Based on
headcount, it is unequivocally the largest independent
full-service mobile marketing agency around.
The person responsible for the safekeeping of such
a valuable brand is Somo’s marketing director Jocelyn
Bull. Such a brief might intimidate many, but when we
meet she is relaxed and full of enthusiasm for her task.
Perhaps part of the reason for her bright outlook is
that she’s amongst friends at Somo – some of whom
she’s known for more than eight years of her career. For
Jocelyn, it’s the second time she’s worked alongside
Nick Hynes, Somo’s co-founder and CEO.
“Nick is from The Search Works [where Jocelyn
worked between 2005 and 2008] and there’s a big ex-
Search Works contingent here.
“Working at The Search Works taught me a lot about
the kind of business and the kind of people I want to
work for. I knew that any business Nick was part of
would have the same qualities and that I would leap at
the chance to work with him again.”
Where The Search Works’ mission was to build
Europe’s largest paid search marketing agency, Somo
is much broader in scope. As a full service agency, its
team covers mobile strategy, innovation, advertising
campaigns and creative design and production from
conception to delivery.
“The challenge of mobile, and the beauty of it, is that
it changes phenomenally quickly. From 2005 to 2007,
search was changing a lot. But that’s nothing compared
to mobile right now.
“When I joined, I was quite guilty of thinking ‘mobile
is going to be just like digital, isn’t it? Same stuff on a
smaller screen.’ I quickly realised how wrong I was.”
Mobile is growing incredibly quickly and represents
the current zeitgeist of digital, and marketing in general.
Somo appears, from the outside at least, perfectly
placed to ride that wave into a position of market
dominance. Does Jocelyn agree?
“We adopt a ‘mobile-first’ philosophy. When your
starting point is a bit of kit which sits in someone’s hand
24 hours a day and that can play a part in almost every
interaction with a company or a brand all through the
life-cycle, that’s extremely powerful.
“I think we’ll see more of a shift of clients who will start
to think in that way – mobile first. And yes, that’s going
to be great for Somo.”
Not that it will be an uncontested fight: “There are lots
of people doing mobile, so it’s very competitive in that
sense. You can barely find a digital agency these days
that doesn’t also say that it’s doing mobile as well.”
When Jocelyn talks about mobile, it’s apparent how
much belief she has in the future of the channel. This
confidence is widespread in the industry, and with good
reason – mobile advertising and technology is poised
to dominate the landscape as mobile internet adoption
reaches saturation point.
The potential of mobile lies in the fact that it remains
largely untapped as a brand opportunity. Jocelyn
sees the inherent linking ability of mobile as crucial for
reaching audiences in new ways.
“When you look at the stats around media spend by
advertisers versus consumption, 10 per cent of users’
time is spent on mobile but only around one per cent of
ad budget is spent on the channel.”
“From a consumer perspective, no one sits there and
really dissects the media they’re consuming – they don’t
see the dividing lines. What we try to do is create better
experiences joining channels together. So, social media
and mobile go perfectly together, for example. And
the things we can do to enhance print media through
mobile really make sense.”
How much are clients willing to adopt that ‘mobile
first’ perspective that Somo advocates?
“Of course it varies a lot,” says Jocelyn. “Many clients
will start talking about mobile in a niche sense – getting
more app downloads, or improving their mobile site.
But when they start to consider the broader changes in
behaviour that mobile is creating, they start to get very
excited about the broader opportunities.”
In a discipline regarded as ‘of the future’, how much
does Somo have to be focused on the long-term
evolution of mobile?
“We’re always looking ahead, but frankly,” – she says
with a laugh – “you can’t see very far into the future
“FroM a consuMer perspecTive, no one siTs THere
and really dissecTs THe Media THey’re consuMing –
THey don’T see THe dividing lines.”
of mobile. When clients ask for three or five year plans
it’s just not possible. If you can even look a year ahead
you’re doing well.
“We’ve got a dedicated innovation team whose
job it is to know what’s coming up and how it can be
harnessed for clients. Right now they’re looking at
things like audio triggers in TV advertising and how they
can be linked up with the mobile experience, or the next
generation of augmented reality.”
At 33, Jocelyn has already achieved a lot in her
career; sitting pretty in a senior marketing position at
an agency that’s positioned to take advantage of the
mobile revolution. Not that she’s taking it for granted:
“Particularly with the state of the economy in the
last few years, it’s been a pleasure and a privilege to
be a part of an industry that is not only doing well, but
is booming.”

THe druM OCT.26.12 www.thedrum.com
girl guides19

20when the lights went out www.thedrum.com OCT.26.12 the DRuM
Horror Story
from AdlAnd
Adman Bil Bungay has co-produced a horror movie, written
and directed by his former creative partner Pat Holden, and
based on the ‘true’ story of the haunting of Holden’s aunt
Jean’s Pontefract council house in the 70s. So, as Halloween
approaches, we catch up with Bungay to find out what
happens when ad men turn their hands to the movies.
How did you find time to make ‘When The Lights
Went Out’ when you have a busy day job?
I have had to do a little juggling at times, and my days are
busier as a result of wearing two hats, but the producer’s
role is very much on and off. Loads of phone calls, especially
to the US after hours (my co-producer Deepak Nayar, of
Bend It Like Beckham fame, lives in Hollywood) and a few
trips to a film set/edit suite/sound mix. Lots of little things
to take care of, so finding the balance hasn’t been quite
as tough as you’d think. A bit of stamina has helped at
times though. Also, a producer’s role doesn’t end with the
production. It very much carries on to theatrical release,
DVD release and I suspect well beyond that. Ironically,
promoting the movie has been the toughest bit!
So this is a Hollywood production?
I suppose it is in part. The financing is local and we filmed
in Huddersfield with a local crew, so it is a British movie in
reality, but the Hollywood connection is cool I suppose. One
thing’s for sure, there’s no way I could have made it without
Deepak. He is a class act. A proper producer! There’s
nothing that man doesn’t know about film-making and I
had the privilege of being his annoying student intern.
Describe movie making.
Creativity’s extreme sport. Unless you include Stromberg’s
‘bullet art’. I honestly don’t think it gets much tougher than
making a movie. And I started an agency, remember! It
is fraught with extremes. Massive ups and catastrophic
downs. Like a passing train of consecutive carriages of hot
girls and cold vomit. You get the finance approved – UP. You
discover it isn’t nearly enough to do what you need to do
– DOWN. You miraculously shoot 100 pages in six weeks
– UP DOWN UP DOWN UP DOWN UP DOWN DOWN
DOWN, REALLY DOWN, SOMEONE KILL ME… UP. Then
you see the first edit and it sucks – CRASH BURN. BUT!
You somehow reshoot the ending and by some miracle
finish the movie and, my god, it works! – BIG UP!! But then
you can’t cut a decent distribution deal – DOWN, DEAD.
BUT suddenly you nail a theatrical release – UP!!! And you
get a release date and a premiere! – UPDIDDLYUP. Then
you see the poster they want to run…
But didn’t you design the poster? We had it in a
previous issue of The Drum?
Yes, Dan Forde and I designed it. Rankin shot it. It’s dark
and awesome. But here’s the funny thing, in this process
I was suddenly the client! It’s the distribution company
that has the responsibility of promoting the movie, not
me. So they decide the release date, the marketing
plan, the poster… it was tough letting go, I can tell you.
But really interesting being put in the client’s shoes for a
change; being a client is a lot tougher than you’d think.
So what have you learnt about being a client?
Loads. But the biggest lesson is the client’s seat is a
very scary seat indeed. Fundamentally, they employ the
services of a marketing company that are specialists
in their particular field of creative selling and more
often than not, the client knows nothing of creativity’s
mysterious ways; which actually explains why so many
clients are bothersome to their agencies – because often
the only tools they have to defend themselves against
our dark art is data. That’s why clients are obsessed with
research. It appears to numerically assess the efficacy of
an idea, which in turn seems to justify the concept.
Of course the reality is that it is impossible to numerically
assess a creative concept (this one equals 63?) so it’s
best to leave that crutch at home. That said, there I am
in the client’s seat for a change, and there I was quietly
wishing I had the time to play the research card in order to
convince the ‘agency’ to change tact dammit…
How does movie making compare to making ads?
The production processes are much the same for sure. In fact,
I have a deep admiration for TV producers that have to set up
new productions constantly, because at least for filmmakers
they only have to set up a production once, maybe twice
a year. Director, casting, locations, costume, studio hire, set
builds, storyboards, editor, post deals, etc, over and over
again. It is more or less exactly the same process that filmmakers
follow, just for a few days instead of weeks.
But though budgets are diminishing, the price per second
for commercials is still much higher than movies for sure.
And there are a few good reasons for that, such as – the
performers tend to charge an appearance fee as opposed to
an hourly rate, that looks reasonable over a 6-8 week shoot
whereas on a commercial it’s ‘ouch’. You can cut a much
better rate over 6-8 weeks with the crew too, but the main
reason for the difference is (as much as I love them) clients
again! On my film shoot Pat Holden the director took the
proverbial bull by the horns (and we are talking the biggest,
baddest muvver of a bovine that God had the temerity
to create) and got on with it. No play back, no comment,
nothing – I was a spectator and a good thing too.
Whereas on commercial shoots – clients, and agency
of course, are allowed a monitor and a say; that more or
less means approvals of every shot (a bit like approving the
carpet first, then the wallpaper, then the sofa with no eye on
the finished effect) by people that are unlikely to know about
the intricacies of storytelling in 30 seconds – and that takes
time. Loads of time. Three takes max on a film shoot, on a
commercials shoot the director’s patience is the limit…
What advice would you give ad folk who have the ideas,
but are struggling to produce decent commercials?
Make sure that the client fully understands the idea, choose
a brilliant storyteller (director), cast actors and NOT models
(performance first, appearance second always), rehearse

the DRuM OCT.26.12 www.thedrum.com
Clockwise from top: Pat holden and Bil Bungay (picture
by Chris Bretz), the Rankin shot film poster, Bungay takes
delivery of the house keys, and number 30 east Drive
when the lights went out21

22when the lights went out www.thedrum.com OCT.26.12 the DRuM
then go shoot without the client or with a very brave and
trusting one! And if you are shooting dialogue, block it out
if possible; meaning shoot a well-rehearsed story from
several angles and not shot after shot. You will get a much
more fluid story told convincingly this way. The other way,
including 300 approvals will give you a commercial, which
the consumer certainly doesn’t want to see.
What else have you learned from the experience?
You have to be madder than a pervert with a meat
grinder fixation to want to make a movie. It’s difficult,
it’s expensive, it’s stressful, it’s a huge gamble. But like
advertising at it’s best, it can be great fun. I am proud
to have made a movie and feel like the experience
has made me grow as a creative. The last time I was
exposed to a learning curve this vertical was when I
started Beattie McGuinness Bungay back in 2005.
What advice do you have for anyone wanting to
follow suit?
Don’t do it! Save your money, your sanity, your marriage
etc! But where’s the fun in that? I am a total believer in
taking risks in life. Ironically, I am never more comfortable
than when I feel like I am sticking my neck out, when I
cannot be sure of the outcome – BUT can have some
influence over it.
I’ve never thought of this before, but perhaps I am not so
different to the adrenaline junkies who throw themselves off
buildings. I love the rush you get from taking a leap into the
unknown. Cicero, an incredible Roman philosopher, lawyer
and statesman that rose to the top of the Roman senate,
had a simple philosophy: ‘You don’t know the solution to
a problem until you create the problem’, this is definitely a
philosophy that I identify with. Have the courage to declare
your intention, then you have no choice but to work it out,
and more often than not – you will.
The movie is based on true events that happened
in a house in Pontefract, West Yorkshire right?
Yup. I’d say 70 per cent (for the clients reading) is based on
fact and the rest embellishment. More or less all the events
that we portray happened in some form, but we added
a fairly spectacular ending because poltergeists just stop
doing stuff, which is a little underwhelming.
Rumour has it you bought the house?
Erm, yes. It was for sale, so I bought it.
For heavens sake, why?!
I refer you to Cicero! There is a load of stuff I had no idea
would happen now happening in and around the house,
all with a view to promoting the movie, so as it stands, it
was an excellent purchase. But I have also put it back
on the market – for 2.5 million quid! Because if the price
doesn’t scare you, maybe the poltergeist won’t either! It is
also the most expensive ex council house in the UK.
Have you stayed there?
God no! There’s a kicking, screaming nut job of a
poltergeist in there, and yes, he (it) is still there – and by
all accounts is not best pleased with me for spoiling its
tranquility. On the bright side, this landlord isn’t charging
his polty tenant any rent, so it should be grateful.
It’s still there?
Yes. It is. The girl that plays Sally in the movie visited the
house with a friend recently and swears the lamp swung
on its own, the neighbour (a medium) was in there a
month back and she was possessed by the thing for a few
minutes. There’s bumps, scrapes, shadows… eeek.
Do you believe in ghosts?
If the question is ‘do I believe in an unexplained phenomena
that results in the physical manifestations of formerly
living things’ the answer is a firm yes! Not least as I have
physically experienced, let’s call them ‘ghosts’ twice, and
what I saw/heard is not in debate, with a third encounter in
the balance. But what’s really incredible is that you would
not believe how many people have come up to me whilst
I’ve been working on the movie and volunteered their
ghostly encounters. Easily as many as eight out of 10 folk
have had some kind of paranormal experience, some quite
extraordinary events experienced by very sane, grounded
folk. People you work with right now.
But what ‘ghosts’ are, is a different debate altogether.
What I find interesting is that you quickly get labelled a kook
for an admission like mine, but if you talk about parallel
universes, string theory, or there being eleven different
dimensions – you get labeled a kook too! And they are well
founded, incredibly advanced scientific theories!
My suspicion is that there is a perfectly sound, as yet
undiscovered scientific reason for ‘ghosts’, and when
solved is likely to be the most profound scientific discovery
of our time. The kooks need to unite to figure it out in my
opinion! Happy to host the discussion at my house!
So the poltergeist in your house?
I’d love to know what it is. Or indeed where it is from.
The house is supposedly built on a ley line (I’ll get me
coat…) and has underground water. It is on the land of
a former monastery, there is plenty of supposition that
religion buildings, including most of the ancient churches
we use today, were built on ground that has a particular
energy, so it could be that the house has a peculiar set of
circumstances that lend themselves to the extraordinary
phenomena that has without a doubt, occurred there.
But for the time being, let me trade off the fact that it’s the
things we don’t understand that scare us the most!
Nice segue back to the When The Lights Went Out.
When can we see it?
It’s out at Halloween, midnight viewings nationally for a
couple of weeks with the prospect of us rolling it out to
more cinemas before Christmas, and it’s on Blue Ray/
DVD early next year. Go and see it! Oh, and note that it’s
the Rankin poster that is leading the way! Thanks to a
little research. ;-) UP!
So what next?
Well, we’ll see. I am getting loads of screenplays sent
to me which is cool, but a big responsibility as people
put an awful lot of effort into a screenplay, so it troubles
me knowing that in reality one in ten is a genuine good
read and fewer will ever get made – but you never know,
something may come of them.
The other thing that I am often banging on about
is the advertising industry being firmly part of the
entertainment industry now, based on the very simple
truth that the more entertaining your ads are, the more
engaging they are, the more effective they are likely to
be. On that basis, the ultimate advert would be a movie,
so there are some quite advanced plans afoot to marry
my advertising world to my movie world. A very exciting
prospect indeed, but boy am I going to need the bravest,
most trusting, most forward thinking, most loaded of
clients for this one! Know you of such a man?!

the DRuM OCT.26.12 www.thedrum.com
when the lights went out 23
the dated decor of number 30 east Drive and, above,
pictures from the when the lights went out premiere
at the house

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tHe DrUM OCT.26.12 www.thedrum.com
creative news25
the works
To submit work to our creative round-up contact thomas@thedrum.com
ted Baker has unveiled ‘a Baker’s Dozen’,
a series of 13 a2 prints created by the
association of illustrators which will be
gifted to customers who spend over
£150 on the a/w collection in store. the
artwork has a British theme, including
fish and chips, drinking tea, village fetes
and gardening. Only 1000 copies of each
print will be available worldwide.

26the works www.thedrum.com OCT.26.12 the DrUM
expanding on its branding work for luxury jewellery
store Union, red Design has designed and specced some
elegant bespoke packaging including bags, tags and ring
and bracelet boxes. these are now in production and
should hit the shops in the next few months.

tHe DrUM OCT.26.12 www.thedrum.com
creative news27
Fedrigoni, the italian papers manufacturer, has created
an anthology of interpretations of papers for book
blocks, with 16 different paper stocks tackled by 16 book
designers. the first eight designers involved are: studio
Joost Grootens, rainer Groothuis, Frédéric teschner,
Kameel Hawa, wijtntje van rooijen & Pierre Péronnet,
elyron, sánchez/Lacasta and thomas Manss & company.

28the works www.thedrum.com OCT.26.12 the DrUM
Barcelona-based hey studio has created the poster and a colourful and tactile
ribbon application for a suite of print pieces to promote the city’s art and design
festival ArtFad 2012.

tHe DrUM OCT.26.12 www.thedrum.com
creative news29

The best integrated agency in the South West |
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THE DRUM
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MARKETING INDUSTRY AWARDS

mOdern markeTing
COasTal CreaTiviTy
sOUTH By sOUTH WesT
®
OCT.26.12

THE DRUM OCT.26.12 www.thedrum.com
WEST IS BEST
Continuing our series shining the spotlight on the creative
marketing sector in different UK regions, The Drum reaches
the South West of England, where an air of positivity pervades
and the creative industries lead the way to financial recovery.
From St Ives to Bristol, we spoke to a cross
section of the region’s top creative marketing
agencies, and the message was clear… the
industry in the South West is buoyant.
And, as a marker of health, what better
industry by which to gauge a region’s fettle than marketing
services, as Andrew Buffrey, West & Wales regional
manager at the Direct Marketing Association, explains.
“Marketing activity – or, not to put too fi ne a point on
it, marketing spend – is a true barometer of the economy
at large. Rightly or wrongly, marketing is the fi rst sector
to feel the pinch when times are hard. Conversely, when
business leaders believe that the future might be a little
rosier, it is the fi rst to feel the lifeblood returning.”
But why does the South West seem to be leading the
charge back into recovery when so much of the country
is still struggling?
Wolf Rock director Dave Meneer describes the
region as “a creative place for creative thinkers”, while
e3 MD Neil Collard says these are exciting times for
the creative industries in the South West, with the
area boasting “the most competitive and productive
economy of any large English city outside of London,
with world recognised companies such as Aardman
Animations, the BBC and HP.”
Creative marketing in the South West has been
“reliably consistent and strong”, according to Mike
Spurr of Bristol design shop Duttons. And while, just like
the wider economy, it is “facing up to some pressing
challenges”, there has been cause for optimism recently
as “recruitment and relocation pick up again, with a
more confi dent outlook for many agencies”.
Recent research by the DMA backs this up, with
fi ndings indicating a seven per cent growth in the direct
marketing industry in the fi nal months of 2012, taking
the annual equivalent spend to £15.2 billion.
Andrew Buffrey explains: “The South West is set to
reap the benefi ts since the creative sector is growing
SOUTH
WEST
FOCUS
more rapidly here than anywhere else in the UK.
According to government fi gures, 8.2 per cent of the
UK’s advertising enterprises are based in the region, so
this could equate to £1.2 billion. It is no exaggeration to
say that the creative industries will be at the forefront of
the South West’s economic recovery.”
Bournemouth agency RLA’s Paul Smith takes up the
argument, saying: “The South West creative industry is
fl ourishing as a lot of clients look outside of London for
what I think is comparable skill but at signifi cantly greater
value for money.”
While this explanation is shared by many in the region,
it is the skill sets evident in the South West that most cite
as reason for optimism.
David Flavell at TV production company Pangaea
observes that while in London there once prevailed a
perception of the South West as a parochial, production
backwater, 2012 has seen creative marketing and TV
production thriving, “with many businesses punching

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THE DRUM OCT.26.12 www.thedrum.com
well above their weight, successfully competing against
national companies and winning major contracts”.
He continues: “The South West now benefits from
a wide range of companies that have proved they are
perfectly capable of delivering truly top class work at a
national level. On the back of these achievements, many
out of date preconceptions have been swept away and
now, more than ever, companies from the South West
really are competing on their own merit.
Paul Honey at Strange likewise agrees, saying that
from a digital point of view, “the South West competes
with London in terms of quality of work and it far outstrips
it in terms of value for money.”
While the South West has long been a hotbed for
creative talent, its recovery will by no means be limited to
the design studios for which the region is renowned. The
area is poised for a surge in digital business, with agencies
having acted carefully and strategically throughout the
recession, and in some cases completely realigning their
business in readiness for the brighter days ahead. And
the region is no longer dominated by Bristol, with several
hubs of digital expertise, particularly on the south coast.
“There is a plethora of talent across the South West
and in particular across digital and creative disciplines,”
says Stuart Devlin of Devon-based SEO and digital
marketing agency e-Strategy.
Saman Mansourpour, managing partner at The Agency,
describes the South West as a “centre for digital excellence
which makes up a high percentage of client spend”, with
the region’s “early adoption of digital technologies, and
investment in digital education and people as a whole,
largely helped by the universities of Bath and Bristol”,
meaning much of the creative talent it produces choose to
stick around, or return after some time in London.
And why wouldn’t they stick around? The South West
offers one of the best work/life balance for creatives in
the UK, according to Lynne Elvins, vice chair of the West
of England Design Forum, who says “it’s not surprising
that creatives are attracted to the region for the lifestyle,
with its easy access to the coast and countryside and
train links to London and further afield”.
It’s a “beautiful place to live and work” according
to Sanders Shiers owner Alan Sanders, who explains
“our nearest beach is literally a 10 minute walk, while
commuting tends to be much less stressful. Most of the
artists in the studio here all walk to work”.
Getting back to business, the South West has proved
that creativity, while still evident in abundance, is just one
part of its offering, as agencies have had the foresight
and bravery to not just weather the economic storm but
to turn threat into opportunity. They have demonstrated
that by marrying creative talent with strategic nous, they
can deliver innovative, targeted marketing activity with
exceptional results.
Thinking Juice MD Gellan Watt sums up the region’s
appeal, and the reason clients are keen to get on board:
“If you want to find an agency that can make a budget
go further, it won’t happen in W1. Agencies outside of
town work harder, faster and often smarter. The only
difference is we don’t often get the same briefs as in
town, from the truly big brands. What’s brilliant about
the South West is that it’s got a truly rich talent pool
that came from, or commuted to London – meaning you
get everything you want in the South West, but from an
agency that is glad you’re their client.”
In the next issue of The Drum, we continue our
regional review with a feature focusing on the
marketing industries in Scotland.
SOuTh
WEST
FOCUS

36regional review www.thedrum.com OCT.26.12 THe DrUM
Q&A
What is the current state of the creative
marketing industry in the South West?
Neil Collard, MD, e3:
These are exciting times for the creative
industries here in the South West. The area
boasts the most competitive and productive
economy of any large English city outside of London,
with world recognised companies such as Aardman
Animations, the BBC and HP.
Gellan Watt, MD, Thinking Juice:
It’s tough. Like everywhere. We’re doing
great things, winning business and delivering
big results – but we’re working harder than
ever, and faster than ever. Luckily we’re built to be able to
do it. Nimble, efficient and packed with talent. But those
agencies that aren’t, are very clearly finding it hard. Some
big agency brands of years gone by are suffering. It’s sad,
but the world has changed and keeps changing. It’s not
enough to be good. Today the bar is great.
Mike Spurr, director, Duttons:
This sector in the South West has been
reliably consistent and strong, although
right now, just like the wider economy, it’s
facing up to some pressing challenges. The percentage
of micro-businesses is higher than average and many
of them have relatively precarious finances, with a third
seeing no net profits or profits of less than £25,000 in
2011. But there is a mood of cautious optimism now
emerging, with recruitment and relocation starting to
pick up again and more confident outlook for many
agencies.
Andrew What is Girdwood,
the current state of the creative
media marketing innovations industry director, in the South LBi bigmouthmedia
West?
Saman Mansourpour,
managing partner, TheAgency:
The creative marketing industry in the South West is ever buoyant. A
centre for digital excellence, which now makes up a high percentage
of client spend, the region’s early adoption of digital technologies, and
investment in digital education and people as a whole, largely helped by
the universities of Bath and Bristol, means many choose to stick around,
or at least return post London. In addition there has been a lot of agency
consolidation since the 2008 economic crisis. The region saw a number
of mergers and acquisitions, as well as distressed purchases. This has
left fewer mid-size agencies today, propped up the revenues of larger
agencies and led to an influx in the number of start-ups.
David Flavell,
MD, Pangaea TV Production:
If you were asked to think about which
type of industries might be flourishing
in the South West today, creative marketing and TV
production might not immediately spring to mind. Within
the swirling media hub that is London, there used to
be a perception that the South West was a parochial,
production backwater. However, in 2012 this couldn’t
be further from the truth. Creative marketing and TV
production is thriving, with many businesses punching
well above their weight, successfully competing against
national companies and winning major contracts.
What major changes have there been in the last year?
The Drum speaks to some of the
most influential individuals in the
South West creative marketing
scene to gauge the health of
the industry in the region and
find out where it is headed.
Ella Romanos, CEO, Remode:
The South West has been seeing growth
in creative industries, particularly in games.
There is a great vibe and energy which
seems to be encouraging collaboration, communication,
innovation and creativity and ultimately growth of existing
companies and the setting up of new ones.
Lisa Killbourn,
group strategic director, Bray Leino:
The loss of the COI SW roster is significant.
The replacement of this with the new
£520m Government Procurement Service which is
ploughing through 500 bids for only 30 roster places
seems likely to favour a few big London players rather
than the many in the regions. The ARM framework gives
regional agencies some hope of government business,
but only for projects under £100k.
Paul Smith,
business development director, RLA:
Certainly the failure of some key middleweight
agencies has been a real eyeopener,
so I think there has been a little consolidation
which is worrying smaller companies a little.
Which sectors are in growth or decline?
David Flavell,
MD, Pangaea TV Production:
I don’t see any one section suffering from an
inevitable, terminal decline, but decline is a
possibility within every sector of the industry if we are not
quick to recognise the diversity of requirements in today’s
climate and adapt our services and products accordingly.
It’s no longer viable to sit back and go along with the status
quo. Whatever the sector, those companies prepared to
think outside the box, provide innovative services and
deliver excellent value for money will flourish.
Gellan Watt, MD, Thinking Juice:
PR agencies seem to be finding it tough.
They are moving more and more into
social media to find new budget. Mobile, of
course, is growing at a rate of knots.
Mark Mason, CEO, Mubaloo:
Purely creative businesses are in decline.
Every agency needs to be digital these
days – that’s what businesses expect. As for
growth, mobile is definitely growing as I’ve mentioned but
also social networking, UX consultancies and marketing
automation agencies are seeing strong growth.
What does the South West offer over London
or other UK regions?
Paul Honey, MD, Strange:
For digital, I think the South West competes
with London in terms of quality of work
and it far outstrips it in terms of value for
money. In the current economic climate, doing more
with less is important for many companies and Strange
is able to attract clients because we have a far better
cost structure than our London peers.
Paul Handford, exec director, redtag:
The South West not only has some of the
best and most experienced marketing and
creative brains in the country, it is also a
hotbed for innovation. Clients not only benefit from this,

THE DRUM OCT.26.12 www.thedrum.com
01 02
What major changes
have there been in
the last year?
Gellan Watt, MD,
Thinking Juice:
Strangely, I’ve seen a
lot of client movement.
You’d imagine in times
like this there would be
more value placed on
long-term relationships
and commitment. But people are unsettled. I’ve
seen a lot of clients move work into London (for
what reason I have no ideas – security?) only to
move it back out when they get worse results.
Other changes include the stampede towards
social media, which very few clients have
mastered, or understood, its true potential.
but can make their budgets go further through competitive
pricing structures that reflect the lower overheads.
Stuart Devlin,
digital director, e-Strategy:
There is a plethora of talent across the
South West and in particular across digital
and creative disciplines. The quality and delivery of work
is on a par with that of other regions but at typically lower
costs. Staff retention also tends to be good in the South
West and this is an area that clients value as it enables
long term relationships and deeper understanding
of clients’ businesses.
Saman Mansourpour,
managing partner, TheAgency:
Necessity is the mother of invention. Only a
few agencies in the South West have had
the support of agency networks or groups and their
cash to keep them afloat. Every individual in an agency
organisation, or indeed every freelancer, has to prove
themselves each and every day, which means we have a
very versatile and practical talent pool, both in their work
and their approach. It has never been truer that agencies
in the South West deliver more bang for client buck.
Lisa Killbourn,
group strategic director, Bray Leino:
A bit like the Galapagos, if you’re somewhat
isolated from others in your ‘species’, you
evolve differently and bring something fresh or even
unique to the party. You don’t grow your business as
London agencies do, with a constant watching eye
on what others are doing – you are led more by your
clients’ changing needs than your competitors’.
David Flavell,
MD, Pangaea TV Production:
The South West has everything to offer.
While the challenge in London is to
stand out from the crowd, the challenge in the South
West is to stand out from the crowd and persuade
companies to do business outside of the capital city.
To win big contracts and get noticed, companies from
03
SOuTh
WEST
FOCUS
01 Bristol agency Taxi Studio redesigned and refreshed
Westonbirt Ice-cream as Jolly Nice 02 Bournemouth‘s
Thinking Juice carried out photography and product
design for new tent brand FieldCandy 03 Duttons
Design’s work for Ecotricity’s car charging points
for a new national network
the South West don’t just talk about ‘going the extra
mile’, they actually get on and do it. In addition, our
cultural heritage and stunning filming locations make
the South West a unique place to do business.
Is there a sense of community among creative sectors
in the area?
Tony Stiles, CD, Smith & Milton Bristol:
Yes, there’s a strong sense of community,
especially in Bristol. There’s something
about the area that brings people together
and there’s a groundswell of support out there for local
businesses – just look at the Bristol Pound. There are
many organisations that help facilitate this as well –
Bristol Media, PMStudio (Watershed), West of England
Design Forum – they all help bring creatives together.
Bob Mytton, MD, Mytton Williams:
Yes. The creative community has been
growing and getting stronger over the past
10 years.
Dave Meneer, director, Wolf Rock:
Yes very well networked and supportive of
other local businesses – although the South
West does sometime stop at Plymouth!
Mike Spurr, director, Duttons:
There’s a very strong sense of community
across the creative sector in the SW. There’s
a concentration of creative businesses
in Bristol and Bath, two of the UK’s ten creative

Truth 1: REAL people who won’t let you down.
THE STORY OF THE CLIENT
AND THE THREE HEADED BEAST.
It had been a good year in the
valley. The corn had grown high,
and the sheep had grown fat.
From high up in the mountains,
however, a jealous and vengeful giant
looked down. He had no grain and
no sheep.
He was used to taking what he needed
from unfortunate travellers winding
their way through the treacherous
mountain passes.
But this year, there had been few
travellers. He had grown hungry. And
so he sent a fierce, terrifying dog into
the valley to steal from the villagers
and bring meat back to him.
Ten hands at the shoulder it stood
with teeth like ivory scythes, eyes like
flaming coals and breath like… well,
like a dog’s.
In the fields, the villagers watched the
dog descending the rocky track into
the valley with horror.
But one young man saw in its eyes the
hunger of a whole summer without
food. And he knew the animal’s urge
to eat was stronger than its urge to steal.
He fetched meat from the butcher and
fed the dog. It ate until its belly was
full, and then sloped away back to its
master in the mountain with nothing
in its jaws to give him.
The giant was furious, and sent his
biggest most terrifying dog into the
valley. One with three heads, each lined
with triple rows of razor sharp fangs.
Three times as fearsome, three times
as dog breathy…
Again, the young man knew the beast
would rather eat than steal.
But this time it was trickier.
This time, the heads that were not
being fed would get jealous and
impatient, snapping at the young
man’s wrists and hands.
All the rest of the villagers had fled
when they first set eyes on this
apparition. All but one – his oldest
and best friend.
As the young man fed meat into the
ravenous maw of one head, his friend
would distract the others, always keeping
a step ahead of their snarling teeth.
Eventually even this ferocious
hellhound had had its fill, and turned
tail to go back to its mountain lair.
with a cry that echoed like thunder,
brought his stick down hard across the
dog’s shoulders.
Big mistake: baying in bloodcurdling
triplicate, the creature fell on its master
and ripped him limb from limb.
While down in the valley, the young
man – and the friend who had stood
shoulder to shoulder with him –
were carried through the village by its
grateful inhabitants and feted as heroes
forevermore.
The Moral: When confronting your
greatest challenges, you need people
you can rely on to never let you down.
To learn more about the agency who’re
trusted to solve the most complex of
comms. problems for some of the world’s
biggest brands, call Paul smith on
07500 012 731 or link in at
linkedin.com/in/paulsmith76
rla.co.uk
When he saw his plans had again been
thwarted, the giant lost his temper and IndIspensable In what we do

THE DRUM OCT.26.12 www.thedrum.com
01
02
hotspots, so the personal networks are strong and
very interconnected. Larger regional agencies tend to
be competing with London agencies rather than other
local agencies so the attitude is more collaborative and
much less protectionist.
Mark Mason, CEO, Mubaloo:
Bristol Media is a fantastic focus for South
West creative businesses in many ways.
Not only are there regular social events and
business get-togethers, but it also enables members to
negotiate better rates on services such as recruitment.
Is there a case of big agency dominance in the South
West or are smaller agencies leading the way?
Saman Mansourpour,
managing partner, TheAgency:
There are a number of network agencies,
where many talented people start their
careers, or transfer into from London. However, the
South West has an entrepreneurial spirit that may well
stem from its early digital roots. There is a real hotbed
of small agencies doing really bespoke and interesting
stuff. Many are the brainchild of individuals who have
served in organisations such as the BBC, so start-up
projects often get a hearty leg-up.
03
01 Pangaea TV’s work for Devon County Council 02 Strange’s branding and website for Fujifilm Create 03 The Agency
created the ad campaign for the re-launch of netmag.co.uk
Paul Honey, MD, Strange:
It’s nicely balanced between big, medium
and small agencies. There’s some great
talent in the region and many agencies are
producing high profile work for some of the biggest
and best brands in the country. It’s good to see clients
recognising the talent available in the South West.
Stuart Devlin,
digital director, e-Strategy:
The South West isn’t particularly dominated
by one agency but there does appear to be
a shortage of agencies specialising in a particular digital/
creative discipline, with many full service/traditional
advertising agencies competing in the digital space.
What is the current talent pool like in the region?
Alan Sanders, owner, Sanders Shiers:
Naturally there isn’t the same creative
resource you would find in London, which
can make recruitment more challenging.
There is however a great pool of fresh eager new talent
from the outlying colleges and universities. Falmouth
College of Art & Design for example is world renowned
and always expanding its course disciplines. We already
have our eye on that one. There is also a pool of talented
Your brand is your bottom line.
We’ll make it work harder.
creatives that have done their time in the city and move to
outer reaches in search of fresh air and space.
Richard Spruce, CD, Stuff Advertising:
There are plenty of talented people around
but we seem to be better at attracting
people back to the region than keeping
them here in the first place.
Bob Mytton, MD, Mytton Williams:
Generally OK, although it has been a struggle
to find good middleweights. There is a need
for good digital designers and strategists. In
general, being such a vibrant creative area, it is attractive
to many people in the creative industries who have done
a few years in London and are keen to relocate.
Paul Smith,
business development director, RLA:
The talent pool is our greatest problem.
Finding high quality senior management
for account directors, planners and creative directors
is proving a real problem. There’s a lot of people who
say they have these skills but not to the standards
we need to deliver for our national and international
accounts. You’d never imagine there was high
unemployment, the trouble we’ve had!
duttonsdesign.com
SOuTh
WEST
FOCUS
Brand communicators

South West Digital Agency of the Year - The Drum
It’s all about planning and insight
With clever people on board To get great results
For brands big and small Now how can we help you?
planning
creative
UX
We aim high
web development
ecommerce
digital marketing
www.strangecorp.com 01202 203160 results@strangecorp.com

THE DRUM OCT.26.12 www.thedrum.com
01
02
03
01 & 02 Mytton Williams helped Waitrose extend its
identity into a new area of business with the Waitrose
Cookery School 03 Some of Bray Leino’s work for the
2011 Census campaign
Wolf who?
Are universities and colleges in the South West
adequately preparing students for the work place?
Richard Spruce, CD, Stuff Advertising:
I’m not sure they ever really can, no matter
how hard they try. More collaboration
between universities and agencies would
help. There’s no substitute for learning on the job so work
experience plays a vital role in preparing students.
Tony Stiles, CD, Smith & Milton Bristol:
Creatively, yes. Practically, no. A lot of
students come out of college with a great
portfolio of creative work but no idea how to
implement it, either digitally or in print. Surprisingly, few
creative students seem to be getting the training they
need in digital/online design skills. We think these are
national, rather than South West, problems.
Andy Reid, MD, McCann Bristol:
This is certainly an area where we have
seen improvements. Universities are far
more willing to speak to industry leaders
and work in collaboration to give students the chance
to experience real life working scenarios or live briefs.
Mike Spurr, director, Duttons:
The colleges in the region are very proactive
in making sure they understand the
needs of the industry and are preparing
students to meet them. There are more students than
opportunities but many agencies link up with colleges
to offer structured work experience places and regional
bodies such as Bristol Media are developing talent
sharing schemes.
Paul Handford, exec director, redtag:
We are seeing some good talent from local
universities, but one of the main issues is that
candidates have little workplace experience.
redtag has given interns workplace opportunities during
the last five summers to provide students with practical
experience of what working for a marketing agency is
all about. We would like to see local universities and
colleges forge stronger links with agencies such as ours
to help prepare students for life after study.
What areas are set to see most growth?
Paul Smith,
business development director, RLA:
Digital, digital, digital. Everything else is in
mild decline according to other neighbouring
agencies but I think that depends on your focus. At RLA,
we’re focusing on both and as a result our traditional
skills, promotional marketing and international clients are
growing just as fast as pure digital.
OK. So you haven’t heard the name (yet) — that’s because we are the South
West’s newest agency. We bring together over 100 years of national and
international experience. There are just three things you need to know
about Wolf Rock. 1) Between us we’ve helped build the world’s first (and biggest) functional drinks brand,
re-branded the UK’s leading superyacht yard, launched a world-famous visitor attraction, led a restaurant
to record results for Britain’s best-loved celebrity chef, and accelerated North Wales’ fastest-growing
holiday cottage company. 2) We are in Cornwall (we like it here). 3) Our phone number is 01872 262698.
Neil Collard, MD, e3:
From an engagement level, mobile,
tablet, m-commerce, mobile payments
and social media marketing are areas we
expect to see ongoing growth in investment. However,
the big shift we are seeing is the growing integration
of customer data to provide real-time joined up
experiences for the customer across all touchpoints.
Alan Sanders, owner,
Sanders Shiers:
Digital sectors will see the most growth.
This has been hugely affected by products
such as iPad, iPhone and so on. People of all ages
are much more computer savvy and building their
lives around the internet and connectivity.
Paul Handford, exec director, redtag:
Like most agencies we are seeing growth
in the digital space, however we are finding
that media integration is key to successful
effective campaigns and therefore agencies that are
able to offer fully integrated solutions are more likely
to see growth.
Are there any significant barriers to growth
in the region?
Dave Meneer, director, Wolf Rock:
The perception of distance can be a
barrier, and the logistics of working
with an agency that isn’t on the client’s
doorstep – smart clients will for go for talent over
location... dumb ones will go for the easy choice of
the biddable next-door shop.
Andy Reid, MD, McCann Bristol:
Bristol is well placed and doesn’t have any
issues with infrastructure, whilst talking to
agencies further into the South West, this
can pose challenges.
Paul Honey, MD, Strange:
Not really – but if I had to pick one thing
that’s a continual annoyance for many
agency folk in the region, it would be the
rubbish and intermittent 3G service on the train when
we travel to meet our clients in London!
Alan Sanders,
owner, Sanders Shiers:
The only real drawback is distance and
connectivity when travelling for meetings
and events in London and outer regions; we find you
just need to make more of an effort and plan ahead
a little more. Other than that, day to day business is
generally conducted via email/internet.
AMBITIOUS MARKETING
www.wolfrockmarketing.co.uk
SOuTh
WEST
FOCUS

THe dRUM OCT.26.12 www.thedrum.com
e-STRaTegy
Tel: 01803 203311
Email: info@e-strategy.net
Web: www.e-strategy.net
Twitter: @estrategyltd
knowledge bank
Eddie Bent
Managing Director
e-Strategy
developing a content
strategy to succeed
In recent times, the benefits of content marketing for
SEO has been widely broadcast with a plethora of
articles, opinions and top tips reinforcing the need for
organisations to produce unique content regularly in order
to acquire those sought after first page rankings.
However, limiting the role of content marketing to SEO
without first understanding how content impacts on the
delivery of your commercial objectives is unlikely to yield
the desired results. Developing low quality, regurgitated
content from online news sources is unlikely to add
significant value to your audience or significantly enhance
your visibility in these post Google Panda and Penguin
update times.
Content marketing needs to be an integral component
of your digital marketing and communications strategy
and should be utilised to build awareness of your brand,
stimulate user engagement, reach new audiences, increase
visitor levels, improve conversion rates and drive revenues.
For most organisations, the commercial objectives will be
similar, but a clear strategy that clearly outlines the process
for achieving these objectives, is critical.
Prior to embracing content marketing, organisations
should consider the following:
About You
In an increasingly competitive digital landscape, it is
imperative for organisations to differentiate themselves
from their competitors in order to gain market share.
During the early stages of developing a content strategy,
key areas such as brand values, unique selling points,
tone of voice and value proposition need to be identified,
documented and issued as guidelines internally and to
external agencies.
This forms the basis of your content strategy and should
be utilised across all forms of digital communication,
including website content, blog posts, pr and social
media.
Audience
Developing content that is of value to your audience
and stimulates a response; whether that be a comment,
share or like, is the holy grail of content marketing, with an
emphasis on quality over quantity.
Discuss potential subject matters internally and seek
feedback from your existing audience to determine what
types of content would be well received. If you are currently
writing content, review what has worked and what hasn’t
worked, which platforms have been the most effective in
terms of engagement, monitor your areas of expertise and
brand mentions online.
Look at forthcoming events in your sector, product
launches and seasonal trends as potential subject matters
and use all of this information to plan an initial 3-6 month
plan which illustrates timings and schedules for the
development and publishing of this content.
Platforms
Which platforms do you intend to use for the delivery of
your content strategy? A blog should be at the forefront
of your content delivery plan but identify where your target
audience is likely to reside online and which platforms offer
the most effective route of communicating with prospective
customers.
Keywords
Review Google Analytics to identify keywords and phrases
that typically drive visitors to your website and analyse the
search queries report in Google Webmaster Tools to find
keyword opportunities.
Social Media
Ensure that social media, and in particular social sharing,
is integrated into your content marketing strategy. Identify
which social media platforms will be utilised and tailor the
content specifically for each platform. If applicable to the
audience, share your blog posts across the main social
media platforms and integrate social sharing functionality
into key areas of your website.
Utilise Google+ as a mechanism to share content and
build authority. Create a company profile and personal
profiles for each person who will be writing the content and
integrate Google+ authorship features to build authority.
Content Types
It is important to note that content, in it’s broadest sense,
can be delivered in a number of ways such as opinion
pieces, buying guides, reviews, white papers, video,
SOuTh
WEST
FoCUS
podcasts, infographics, imagery and more. The type of
content that you publish will be largely dependent on what
your audience engages with and what level of resource you
have to produce this content.
Resource
Resource is a key consideration when developing a
content marketing strategy. Do you have the resource and
expertise in-house to deliver the required content and type
of content effectively? Will you need to outsource elements
of the content development?
In most instances, structuring your content schedule so
that can be delivered effectively in the short term is typically
a good starting point. Its important to emphasise the
‘quality over quantity’ factor and it is often more beneficial
to plan the scheduled delivery of content rather than an
initial burst of activity which will inevitably tail off through lack
of resource.
Measurement
It is important that all content marketing activity can be
measured effectively and key metrics should be agreed and
included within the content marketing strategy. Key metrics
could include an increase in visitor levels, user engagement
and revenue and should be monitored regularly to determine
the overall success of your endeavours.
Summary
The analogy ‘content is king’ is still very much at the forefront
of digital marketing but ‘strategy is queen’ will ensure that
your content attracts, engages and converts.

Vote for your MiAwards MD
Nominations for MiAwards 2012
are now live with more than 60
agencies set to go head to head to
collect awards in November when
the judges decisions are revealed.
However, one area of the awards
that still need to be decided
are the Public Vote categories.
Nominations were sought from
MiNetwork’s membership for the
public vote categories - which
covered MD/CEO of the Year,
Creative Director of the Year,
Marketing Director of the Year,
Emerging Marketer of the Year and
Marketing Personality of the Year.
Here we look at the nominees who
are vying for the MD/CEO of the
Year award. To vote for your winner
please visit www.MiAwards.me.
Christopher Bishop, MD, 7thingsmedia
In the last three years Chris Bishop has taken
£15k and turned it into an international multimillion
pound digital agency. Founding the
agency in 2009 it is his infectious drive and passion that
has led the company’s phenomenal growth. Brands
such as Agent Provocateur, boohoo.com, Liberty
London, Ted Baker and UNICEF have bought into his
approach as much as his 17 employees in London
and New York have. The Drum’s 2012 “Marketer of
the Year” is showing no signs of stopping with further
growth planned for 2013.
Gary Boon, MD, Shout
Shout is still a relatively young business,
only three years old, but Boon and his team
have shaken up the North East’s digital
scene and become an established player working with
an impressive client list. After just two years Boon’s
agency was named North East Marketing Company of
the Year at last year’s MiAwards and this year saw Boon
set a growth target of £5m by 2015 after it developed
work for GFI, Sage and NAC Group.
Ian Ord, MD, Fifth Ring
Ord has spearheaded a £3M charity
campaign for cancer care and he has won
so much business that their income in
Aberdeen has risen by £500k this year. He has taken
Fifth Ring to the top of Scotland’s Recommended
Agency Register and has also invested £450k to
make sure they have the best working conditions and
technology available. He has also continued Fifth Ring’s
international expansion, bedding in the agency’s new
office in Kuala Lumpur, while continuing to grow their
interests in Texas, Dubai and Abu Dhabi.
Gellan Watt, MD, Thinking Juice
In 2011 Watt integrated his agency
Thinking Juice into the growing Emerge
Group and overnight saw his creative
and operational role expand to include cities such as
Manchester and Edinburgh. Over the past 12 months
Watt has led both the business and the creative team
through massive growth and the merger of Thinking
Juice with the Emerge, along with balancing the
creative output for the entire group. In that time he’s
worked tirelessly to ensure the business continued
to achieve significant success and has overcome the
challenges in the market place that every agency faces
when going through such fundamental change.
Rob Shaw, CEO, Epiphany
Shaw’s leadership as Epiphany Group
chief executive has led to a remarkable
phase of growth for the agency. The last
twelve months have seen agency revenues grow by
54%, the creation of subsidiary agencies in the form
of Epiphany Australia and Shackleton PR and also
a recruitment drive that will see Epiphany’s 100th
employee join the company before November. Shaw
also oversaw Epiphany’s staff share option scheme,
whereby Epiphany employees benefit from the
company’s continued success, as part of an integrated
staff benefits scheme that was highly commended at
this year’s Business Benefits Awards
www.MiNetwork.me
Winners celebrate
collecting trophies at
last year’s MiAwards,
held at the Mercure
Hotel in Manchester.
Justin Cooke, CEO UK, Possible
High profile digital man Justin Cooke has
had quite a year, the high point obviously
being the sale of his agency Fortune Cookie
to Sir Martin Sorrell’s WPP, the agency becoming part
of the international POSSIBLE network. And while
Cooke’s agency role has expanded dramatically he has
still continued to spearhead the growth of the British
Interactive Media Association (BIMA) and was key in
the launch of the UK Digital Hall of Fame among many
other initiatives to support the growing digital sector.
Ben Hatton, MD, Rippleffect
Hatton’s Rippleffect continues to be a
highly respected digital agency and has
continued to add impressive clients to its
clients list over the year. Hatton’s role within the Trinity
Mirror organisation has also been expanded and he
is now a scout for the group identifying opportunities
for acquisition to continue the growth of Trinity Mirror’s
digital operations across then UK.
Gary McCall, MD, Banana Kick
McCall’s Leeds-based Banana Kick
agency is now three years old and what
was launched very much as a niche sports
and leisure marketing business has grown significantly
and now McCall and his team handle new store
launches for ASDA across the UK and also for the
rapidly expanding gaming and leisure group Genting.
The agency has grown significantly in numbers and
now employs more than 35 staff members, with little
sign of slowing up.
To find out if you have been nominated for a MiAward visit www.MiAwards.me. To find out more about
MiNetwork visit www.minetwork.me or contact Chris Morton on 0141 559 6068 or chris.morton@thedrum.com

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We would like to fi nd a senior account manager to join the team.
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projects to time and to budget.
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RECRUITMENT45
UNIVERSITY OF CENTRAL LANCASHIRE
MEDIA BUYING AND
PLANNING TENDER
The University of Central Lancashire (UCLan) is reviewing
its media planning and buying provision. We are looking to
appoint an agency to help us achieve strategic student and
brand reputation objectives in an increasingly challenging
and competitive environment.
Further details can be found at:
https://in-tendhost.co.uk/universitycentrallancs/aspx/home
INNOVATIVE
THINKING FOR
THE REAL WORLD
Due to an expansion, this unique opportunity to work within a team
of highly skilled SEO, social media and video professionals has
arisen in the Chester area.
http://bit.ly/PMgFVK
BUSINESS SOLUTIONS MANAGER
London | £30k-£35k DOE + Commission
Working in partnership with the agency business manager and other
key commercial teams, you will drive solutions revenue through
their responses to non-spot briefs and the creation of
market-leading pro-active ideas.
http://bit.ly/RgCN7A

46last word www.thedrum.com OCT.26.12 tHE drUM
last word
The Drum’s opinion editor Cameron Clarke takes a look at some of thedrum.com’s best read blogs from
the last couple of weeks, including Mark Lowe’s take on Wonga’s controversial sponsorship of Newcastle.
To see your views in print or on our website, email your opinion pieces to cameron.clarke@thedrum.com.
loads oF wonga For nEwcastlE bUt
nEw sponsor FacEs a HUgE pr battlE
Mark lowe, founding partner, third city
It has been hailed by some as a stroke
of PR genius, but the most telling
comment about Wonga’s sponsorship
of Newcastle United football club
came from @thejamesdixon on
Twitter, who wrote:
“Wonga are to pay £24million to
sponsor Newcastle over 4 years. If they
lent that @ their typical APR over 4 years
they’d have to repay £4bn.”
But who cares? We’re told that a
majority of Newcastle fans approve of
the deal, which sees the club’s stadium
revert to its original name of St James’
Park. And boss Alan Pardew toed the
line hard for the new sponsor: “As
manager of this football club I can only
say that to have the best sponsorship
deal we’ve ever had is a good thing.”
Wonga’s chairman Errol Dammelin
knows his limits and the debate about
turning St James’ into the ‘Wonga
Stadium’ will have lasted less than a
nanosecond. But even if it occurred
by default, this was a clever PR stunt
that established the brand as a people’s
champion for the credit crunch.
As a result, ninety thousand Newcastle
fans now love Wonga, but it still has a
huge battle on its hands to bring itself in
from the margins of acceptability.
This drama has a colourful cast, with
the Machiavellian Dammelin on one side
and on the other the ambitious young
Walthamstow MP Stella Creasy, who
has built her political reputation on a
fight to bring payday lenders to heal.
Wonga’s success will depend almost
entirely on its ability to convince the
public of one central argument – that
the market confers its legitimacy. People
want us and need us, they say, so what
we are doing is good.
This ‘ends justifies the means’
argument is similar to that of Pardew and
Newcastle chairman Derek Llambias,
who say that their Faustian pact with
Wonga is the only way to match Qatari
cash and push Newcastle into the top
tier of clubs.
The counter-argument is equally
simple. It frames Wonga and other
companies with ‘innovative’ business
models like Amigo Loans as quasi-
Medieval money-lenders exploiting the
poor and marginalised.
I’m told by those in the know that
Wonga’s customer base is surprisingly
upscale; that they happily service
thousands of young professionals
unjustifiably frozen out of mainstream
credit. Certain well-respected journalists,
for instance the Independent’s Simon
Read, have accepted this with
qualifications, saying that there is a
place for payday loan companies.
But there is no doubt that a good
chunk of Wonga’s customer base is
either poor, or has fallen on hard times.
This impression is reinforced by stories
of customers using their loans to pay off
gambling or drugs debts.
It is through these human stories that
the Wonga name will live or die. Social
media will make it almost impossible for
the brand to cover up sharp practice
and Creasy has built a powerful lobby
that will not waste any opportunity to
move against the lender.
For MorE blogs go to tHEdrUM.coM/opinion
mOre frOm
The blOgs...
MISSION IS ONE TO WATCH
Deals expert Tony Walford
says the Mission Marketing
Group’s recent buying spree
marks it out as ‘one to watch’.
“If Mission can resist the
temptation to pull everything
toward the centre, while at the
same time keeping costs under
control and nurturing talent and
clients, there could be a bright
future – and now that the group
has real scale, it won’t be long
before it’ll be able to add really
big global clients to its portfolio.”
CAMERON’S TWEET TEST
Daljit Bhurji offers some
advice for David Cameron
as the PM joins Twitter.
“In both tone and content
Cameron has the opportunity
to counter his occasionally bad
tempered, Flashman persona
and the much more dangerous
charge of chillaxing levelled
against him... However he
decides to use Twitter, a clear
strategy will need to go hand
in hand with bravery.”
STARBUCKS’ PR MACHINE
PR columnist Andrew Barr
expects Starbucks to come
out fighting over allegations
in the press that it is not
paying enough tax.
“It will be an interesting one
to watch, as Starbucks’ PR
team is slicker than Don’s hair
in Mad Men, so when they
come out firing, the collective
media better get ready.”

THE DRUM DIRECTORY
Here you will fi nd a selection of our online directory advertisers.
To view their company profi le, work and case studies go to www.thedrum.com/directory
To fi nd out more contact Victoria Swan on 0141 559 6070 or victoria.swan@thedrum.com
AGENCY MANAGEMENT SOFTWARE
Synergist
Tel: 0870 444 9656
Contact: Nick Lane
nlane@synergist.co.uk
synergist.co.uk
AGENCY MANAGEMENT SOFTWARE
Sohnar Ltd
Tel: 0800 880 3008
Contact: Callum Broderick
enquiries@sohnar.com
sohnar.com
COPYWRITERS
Blackad
Tel: 0845 838 0612
Contact: Alan Black
copywriters@blackad.co.uk
blackad.co.uk
DESIGN
Shoot the Moon
Tel: 0161 205 3311
Contact: Phil Marshall
phil@shoot-the-moon.co.uk
www.shoot-the-moon.co.uk
DESIGN AND DIGITAL
STAR Digital
Tel: 01604 696385
Contact: Ben Harper
ben@star-digital.co.uk
www.star-digital.co.uk
Regain control and visibility
with the complete agency
system. Quick scheduling and
easy client portal. Over 10,000
users in marketing, design &
digital agencies.
Traffi c LIVE is designed
to make complex studio
scheduling easy. It helps
agencies plan, schedule and
resource more effi ciently.
Digital copywriters and
trainers since the web were a
lad. Crazy strong in fi nancial
services. We work with AXA,
RBS, Tesco, Vodafone –
and agencies.
A collective of outstanding
creatives, illustrators and
photographers with a large
chunk of food, marketing and
technical experience.
Digital marketing agency
based in Northampton
delivering outstanding
solutions across
all sectors.
DIGITAL
BSS Digital
Tel: 0330 303 50 50
Contact: Sangeeta Raval
digital@bss.org
www.bssdigital.org
MEDIA BUYERS
Boutique Media
Communications
Tel: 0113 3948993
Contact: Simon Bollon
simon@boutiquemc.co.uk
boutiquemc.co.uk
SEARCH MARKETING SERVICES
SEO
Tel: 0800 088 6000
Contact: Danielle Haley
sales@seopositive.co.uk
www.seopositive.co.uk
TRANSLATION & MULTILINGUAL PRODUCTION
Brightlines Translation
Tel: 01225 811200
Contact: Neil Gauld
ncg@brightlines.co.uk
www.brightlines.co.uk
ACCOUNTANCY SERVICES
FW Accounting
Tel: 01224 585599
Contact: Alasdair McGill
enquiries@fwaccounting.com
fwaccounting.com
AGENCY SUPPORT SERVICES
Kaizen IT
Tel: 0845 141 1400
Contact: Steve Timmiss
sales@kaizenit.co.uk
www.kaizenit.co.uk
thedrum.com/directory
Expertise in web development,
mobile and apps, e-commerce
and systems integration
capabilities. Achieve a
joined-up and effortless
communications experience.
Media agency, buying and
planning specialist, Integrated,
online, offl ine, privately owned
and entrepreneurial. We’re
everything you would expect
from a media agency and more.
SEO Positive is one of the
UK’s most innovative online
promotion agencies, specialising
in SEO strategy development,
PPC marketing campaigns and
social media management.
Translation and multilingual
production. Working with
marketing and media agents
is a speciality. We’ll take care
of your brands.
Streamtime Software
Tel: 084 333 07 662
Contact: Aaron Green
aaron@streamtime.net
streamtime.net/uk/streamtime/
BRANDING & COMMUNICATIONS
Duttons Design Ltd
Tel: 01275 850905
Contact: Mike Spurr
mikes@duttonsdesign.com
duttonsdesign.com
ELLA LA VITA!
COPY WRITING
Liz Holt Freelance Copywriter
Tel: 07919 365 335
Contact: Liz Holt
hello@lizholt.co.uk
lizholt.co.uk
Matra Copywriting
Tel: 07891 287602
Contact: Audrey Mason
audrey@mantracopywriting.com
Simon Platt
Tel: 07771 911256
Contact: Simon Platt
me@simonplatt.co.uk
simonplatt.co.uk
DESIGN
Breeze Creative Design
Consultants
Tel: 01360 449347
Contact: Craig Mackinlay
info@breeze-creative.com
breeze-creative.com
Diagram Design & Marketing Ltd
Tel: 01925 600533
Contact: Andy Hutchinson
andy@diagramdesign.co.uk
diagramdesign.co.uk
Engine Creative
Tel: 0845 454 1000
Contact: Andrew Wise
andy@enginecreative.co.uk
enginecreative.co.uk
Gary Swift Studios
Tel: 01977 646431
Contact: Gary Swift
gary@garyswift.com
www.garyswift.com
Manifest
Tel: 0113 2429174
Contact: Nev Ridley
nev@manifestcomms.co.uk
www.manifestcom.comSI CONT.
Milestone
Tel: 01494 676436
Contact: Jay Roff
jay@milestonedesign.co.uk
www.milestonedesign.co.uk
Mortonward Limited
Tel: 0131 555 3553
Contact: Ewan Morton
ewan@mortonward.co.uk
mortonward.co.uk
Resolve Creative
Tel: 0131 555 7585
Contact: Katie Firth
katie@resolve-creative.co.uk
www.resolve-creative.co.uk
Stocks Taylor Benson
Tel: 0116 240 5600
Contact: John Benson
john@stbdesign.co.uk
www.stbdesign.co.uk
Brightlines Translation
Fluency for Business
Fiveways House,
Westwells Road,
Corsham, SN13 9RG
United Kingdom
Triangle Design
Tel: 01454 311220
Contact: Jules Ashford
info@triangledesign.biz
www.triangledesign.co.uk
DESIGN AND BRANDING AND
COMMUNICATION
Happy giraffe
Tel: 01562 886 752
Contact: Kerry Baynon pearce
kerry@happy-giraffe.com
www.happy-giraffe.com
DESIGN AND DIGITAL
Bloom Agency
Tel: 0113 243 4757
Contact: Alex Morris
amorris@bloomagency.co.uk
bloomagency.co.uk
CSI MEDIA
Tel: 0844 873 0073
Contact: Richard Nash
richard@csimedia.net
www.csimedia.net
Davison Williams
Tel: 020 7490 3737
cuppa@davisonwilliams.com
www.davisonwilliams.com
Purple Agency
Tel: 01256 631 660
Contact: Steve Shaw
enquiries@purple-agency.com
www.purple-agency.com
Whitespace
Tel: 0131 625 5500
Contact: Iain Valentine
iain@whitespacers.com
whitespacers.com
DIGITAL
Big Communications
Tel: 0116 299 1144
Contact: Olivia Brown
olivia.brown@
bigcommunications.co.uk
www.bigcommunications.co.uk.
Dog Digital
Tel: 0141 572 0730
Contact: Suzanne Morrow
suzanne@dogdigital.co.uk
dogdigital.co.uk
Enjoy Digital
Contact: Kristal Ireland
kristal@enjoy-digital.co.uk
www.enjoy-digital.co.uk
Magma Digital
Tel: 0845 241 6460
Contact: Jeremy Coates
info@magmadigital.co.uk
www.magmadigital.co.uk
Mind orchard
Tel: 01273 819340
Contact: Arran D'Aubigny
arran@mindorchard.com
T: +44 (0) 1225 580770
F: +44 (0) 1225 580370
E: info@brightlines.co.uk
www.brightlines.co.uk
Advert AWK (B-Words).indd 1 15/10/2012 11:35

It’s no secret that we love creatives like Mike and the team at
Holler in Sydney. They do some seriously great work and are
seriously good people.
Streamtime was created to manage studios just like Holler -
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It helps your team by keeping all your mission critical information in
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You need a quality solution to run your business -
get your free trial from streamtime.net
>> job & project tracking. cost analysis. production management. invoicing. scheduling.
time sheets. CRM. sales analysis. iPad & iPhone Applications.
Streamtime loves Holler.
“ A total must have for us
or any studio serious about
production management...”
MIKE HILL. HOLLER.
SYDNEY, AUSTRALIA.
Holler loves Streamtime.