What the Producer Said...Sweet Sixteen.

In the movie business, there are two times during the year when “Big Movies” are released. Traditionally, the Fourth of July weekend is big for over the top action-packed blockbusters (which today seems to mean the latest awful version of a Super Hero movie).  Christmas, or rather, the Holiday Season is when the big family friendly movies come out.  In order to keep this post “evergreen,” I will let you determine which family movie took the top prize this weekend.

The other thing these two times of the year have in common, is they are your psychological career introspection peaks. (You can look this up if you don’t believe me).

Especially among those new, or a few years into the business, the summer and the end of the year represent big time decision periods.  Here is how it works.

In the summer, you start thinking raise and the timeline toward a promotion.  It’s not your fault.  In the summer, the prices go up on everything.  All the new Fall clothes come out, and you have just finished making your last payment on your share in (ugh) Hampton Bays. 

In a sense, this is your Action-Packed Blockbuster time of year. This is when you turn it on. All of a sudden you’re coming in (close to) on time. Knocking out the assignments like a Tyson blow.  And you want absolutely EVERYONE to see how spectacular you are.  In your mind, you are ready to blow up bigger than anyone has ever done it!  All that, and you want to make damn sure you are noticed by the people who dole out the Academy Awards.

Fast forward to the end of the year.  You’re probably 0 for 2.  You didn’t get the promotion and there is a “raise freeze.” (Code for “We only gave raises to those who can walk out the door with Clients.”)  The movie on the marquee has changed. 

Now you are in Holiday Season mode.  Instead of blowing people away, you’ve turned into the “feel good movie of the year.”  You’re displaying all the classic elements of the family movie.  You start thinking about how you are going to triumph over adversity. You fantasize about leaving the business to do that thing you really love.  And no matter what, you see a happy ending (Which usually has you signing an offer letter from another agency).  

So, here’s what. You are not unique when it comes to this.  Let me be more specific. I am writing this on December 27^th, so I want to let you know that you REALLY don’t want to open that bakery/bike shop/bed and breakfast/ that you think you do.  It’s the holidays talking.  And just like the movie biz, there will be another season coming along.  Stick with this business and I guarantee the golden statue will eventually come.  Feel free to thank me in your acceptance speech.   

 And…fade to black. 

What the Producer Said Catorce

One of my fondest memories from childhood is sitting in the bed with my mother and watching Andy Rooney on 60 Minutes.  This week, I would like to pay a little tribute in my own way. (This will be more fun for you if you read it thinking of his voice.)

I have this post-it on the lower right side of my laptop that has been sitting there for the last couple of weeks. It just says “Nice Guy.”  It’s a reminder to myself that I wanted to write about how it’s becoming more and more acceptable to be a nice guy in the advertising industry.

When I was a kid, all the successful businessmen in the movies (and most of them were men), all seemed to be mean.  Not the kind of mean where they’d call you names; the kind of mean where they kept the $8,000 dollars you need to save your bank; killed you and a bunch of other people during their kids christening; or bought all the stock in your dad’s company and then liquidated the company for profit.  That’s the kind of mean we all thought it took to be really rich.

When I started in the advertising business, there were mean people too. But they were a different kind of mean. Most of them weren’t rich. And maybe they were mad about that. So they were the kind of mean that yelled at their assistants; threw storyboards across the room; or sent you on a wild goose chase around Manhattan to find refrigerator magnets shaped liked little pizzas (If it’s still there the store is on 6^th Avenue and 57^th street). 

These days, with all this spiritual awakening; self help guru stuff and Dr. Oz cleaning out everyone’s colon…people just seem to be getting nicer.  Most bosses don’t yell. If an assistant starts crying everyone runs to their side.  And even people who get fired take the time to make a funny YouTube video thanking everyone at the company. Actually you can’t say fired anymore.  In the agency business getting fired means you went from being President of North America to CEO of Cleveland.

I, for one, don’t miss the mean people.  I hope we are truly getting to the point where “nice guys finish last” means they are the ones still standing. Because I know a lot of nice people in this business and they deserve to be successful. The last thing I want is for another generation to enter this industry thinking they need to be assholes to succeed.  Because I can tell you those days are over.

And incidentally, I’ve always thought of myself as a nice guy—even though I did once kill a bunch of people during a relative’s christening. Probably shouldn’t have brought my PSP to church that day.

Rest in peace Andy. We could have used a few more minutes.

And…fade to black. 

What the Producer Said on Friday the 13th

In Hollywood, not paying attention to the desires of your audience can cost you. There is no better example of this than Writer, Director, Author Michael Cimino.

Cimino wrote and directed the Academy-Award winning film The Deer Hunter. He knew in the post-Vietnam era, there was an audience for a film stripping that conflict of the usual melodrama and glorification of war movies.  Deer Hunter was a huge success and earned an Academy Award.

After that, Michael Cimino had instant green light status from Universal Studios for any movie he wanted to make. Unfortunately, the very next project he chose was Heaven’s Gate.  As you all (should) know the film was an epic fail.  It went way over budget; almost bankrupt the studio, and certainly ended Michael Cimino’s career.  He never made another important film.

There are many examples I could cite, but I chose Cimino for one reason.  He started off as an ad guy.  Michael Cimino directed commercials for Pepsi, Kodak and United Airlines among others.  He clearly understood the concept of playing to an audience.  He should have known better.  What cost him was an ego that got in the way of his perspective.

As an Account Manager, your audience is virtually everyone you come in contact with on a daily basis.  If you want to keep your green light status, you have to maintain the right perspective. I had a great mentor who taught me to always ponder, “What is the question that needs to be answered?”

Similarly, whenever you are in a situation with a member of your “audience,” I want you to ask. “What does this person want from me?”  Not the other way around. It really is not about you. (Welcome to Account Service.)

Most account managers/producers ask the opposite.  They pick up the phone to call the Client thinking only of what they want: a signed estimate; an approval on creative; etc.

They sit down in their CD’s office; or host a status meeting; or even take part in a new business meeting thinking the same thing. “What do I want?”

I am here to tell you, that never works out.  Even when they succeed in getting what THEY want, the slight residue of manipulation lingers in the air.  Not to mention that often times what they want is not the right thing for the Client relationship. 

YOU need to walk into every situation asking, “what does this person want from me?”

You need to understand what every great producer, director, actor and writer understands.  You are nothing without your audience.  This is a service business and Clients needs should always come first. If you can make that slight change in your perspective, I guarantee it will make you even more successful than I know you will be.

If nothing else, I hope this post at least causes you to Netflix The Deer Hunter.

And…fade to black. 

What the Producer Said...The 12th Step

People think a Producer is someone who has an idea and then focuses on finding financing. They think account people just relay information between Clients and the agency.

In practice there are many types.  Look at the careers of some of the great producers like David O. Selznick (Gone with the Wind), Irving Thalberg(Ben-Hur) and Sam Spiegel (Lawrence of Arabia), you see distinct styles.  A little game I like to play is to give Account Managers Hollywood names based on their style.  Here I will do my best to tell you how to work with…well, at least these three.

Selznicks

They have a knack for understanding how to package the agency for different new business opportunities. To them, every person and piece of work the agency has is a potential lure for new business.  He has a one on one lunch/drink/dinner with everyone at the agency-- the aim is to figure out what that person’s unique offering might be. He has absolutely no real interest in the actual person.  If he is your boss, the best thing you can do is to be a new business information provider. Forward those articles you see on Adweek and Agency Spy.  What you’re really doing is making yourself a player in the only game he is interested in.

Spiegels

They are rare, because they embody the phrase, “Don’t trust her as far as you can throw her.”  Spiegels are larger than life, loud, unedited figures.  To colleagues, they can be unscrupulous, petty, dismissive, and even downright mean.  They survive through a savant-level ability to be crafty when it comes to sticky situations, and by being tremendously charming to Clients. You have to be a constant pulse-taker.  Use her admin or others to figure out what mood she is in before you have any contact. And I don’t mean the mood “today.”  I mean like 30 minutes before you meet. Because it can change that fast.

Thalbergs

In reality and in our business the life of a Thalberg is usually short. (He died at 37).  A Thalberg is the type of Account Manager who is so fascinated with the PROCESS that every other aspect of the job runs a distant second.  This person would love to personally know every single person in the agency; to understand every facet of their job; and figure out how to keep their careers engaging and moving forward. Unfortunately, at the senior level, the visionary nature of this management style often flies in the face of day-to-day profitability. These are people who are inspiring to work for.  The best thing you can do is pick their brain while you have it because they are more than willing to share.

Understand, all account leaders have a style.  Understand, it is not your job to BECOME them. The goal is to always learn FROM them. My hope for you is that one day you get to work with a Geffen.  More on that later.

And…fade to black.

What the Producer Said..."This One Goes Up to 11."

Hollywood is filled with stories of moguls who started out in the mailrooms of some the most important studios in the industry.  Icons such as David Geffen, Michael Ovitz, Barry Diller and Bernie Brillstein, all started as very well-dressed grunts in the basement of the William-Morris Agency.

When I started in the advertising industry, the Madison Avenue equivalent of the mailroom was the Traffic department.  That has since changed to the entry-level Account position.

Just as there are major advantages to starting in the mailroom at WMA, there are just as many “perquisites” to being a junior account manager.  The idea is to use your vantage to your advantage.

So, here’s what.  If you are a junior account person, here are some tipuisites on how to "take advantage of the vantage." (that's in quotes so that you memorize it!)

Find a mentor (Whether she knows it or not).

Every agency has that golden girl who seems to be getting the choice assignments.  Your first instinct is going to be to hate on them.  But I implore you to do like the fictional character Sammy Glick and find a way figure out why they are the chosen ones.  I guarantee you, it won’t be the obvious answer.

It’s okay to be ambitious.

I guarantee there are two sentences you will hear over and over again. 1. “I can’t believe this is what I went to college for.”  And 2. “My friend who works in finance makes five times what I am making.”  These are the words of the non-ambitious and uninspired.  In this business you are only rewarded if you stand out from the crowd.  Nothing is owed to you. And you don’t actually MAKE anything.  So, the only way to excel is if you find a way to make YOURSELF valuable. 

Plan your next move based on your boss’s next move.

Barry Diller, the famous wunderkind of Paramount Studios and many other ventures, famously took a job as the assistant to a Hollywood TV agent.  A week or so after he started the job, his boss became the head of the agency. So, now he was the assistant to the guy running the show.  The point here is simple. If your boss is on the fast track then you follow her. If she is talking about bagging it all and opening a bakery, make sure you start lobbying for a new account to work on. 

Pick up the check the day before payday.

My mother used to work for the phone company.  This is back in the day when there was only one “phone company.”  She told me that one thing she used to do was either go shopping or take her coworkers out to lunch the day before payday.  She did this so that the people she worked with knew that she wasn’t just working for a paycheck.  Take a few minutes and think about how baller that was.   

It makes people wonder who you are. And that my friends, is what this business is all about.  You want them to wonder who the **** you are!

And…fade to black.

(Dedicated to Patricia Y. Prince)

What the Producer Said..."10"

A statement you will never hear in Hollywood. 

“Well, I’ve been doing this for three years now, so I should be up for an Academy award by now!”

However, I hear a version of that statement daily.  We’re obsessed with how long things are supposed to take to happen.  We make assumptions based on what the traditional path is.  Agencies tend to have set timelines, which are planned based on a traditional training and development models.

So interesting that as successful as we are at creating non-traditional initiatives for our Clients, we have done very little to non-traditionalize the way we develop our people.

So, here’s what, it starts now.  Instead of using that calendar app on your iPhone to measure your career development, let’s go to the Oscars!!

Tatum O'Neal – Best Actress 1974

(My celebrity crush up until about…well I’ll get back to you on that.)

Won her Academy award at age 10.  Because she was the best at what she did that year.  Stop letting people make you feel like you’re crazy because you think you are a better account leader than your boss.  It is very possible you are.  Instead, focus on that thing that makes you better and continue to refine it.  That will pay off sooner than you realize.

Leonardo DiCaprio – Nominee for Best Actor 2004

Should have won!!! for his performance in The Aviator (that’s right…I said it).  However, Jamie Foxx got the nod for Ray.  Many feel Foxx was the sentimental favorite because the movie opened not too long after the death of Ray Charles.  As good as you are, there may be someone who has been waiting longer, or has other issues that get them the promo/raise faster than you. Don’t let that put a dent in your confidence.  You are not competing against each other. Your time will come.

The Hurt Locker Vs Avatar – Best Pic Noms 2010

Let’s face it 2010 came down to two movies vying for the top award. So, how did Hurt Locker beat out JC and the most expensive movie ever made?  Some critics say it came down to the wider breadth of nominations THL had.  Meaning it was nominated in more categories and therefore the Academy felt it was a better movie.  For you, this means making sure it is not just your boss who thinks you are amazing.  She could quit tomorrow and then where are you?  Make sure everyone you work with thinks you are amazing. Production, Media, Analytics, Planners, EVERYONE!  That’s how you move up.

Harvey Weinstein – Best Picture,  Shakespeare in Love, 1996

This fellow Queens, New York native started out as a small time local concert promoter; moved up to producing concert films; and then started an independent film company with his brother.  That collaboration produced groundbreaking films including Sex, Lies and Videotape, and Shakespeare in Love.  Harvey was famous for shameless promotion of his films during Oscar season.  Your Oscar season is typically the 4^th quarter.  That’s when agencies take a hard look at who is ready for a promotion and a raise.  So, yes, do your best all year around. But do whatever you can to remind everyone how awesome you are as soon as those summer Fridays end.

And finally…

Robert Altman – Nominated Best Director five times

The director of one of my favorite movies achieved mainstream success being nominated for Best Director for  M*A*S*H in 1970.  He was nominated five times over a 31-year long period but never won.  In 2006, the Academy awarded him an honorary Lifetime Achievement Oscar.  A few months later he died. The lesson here? Know when you’re done, and it’s okay to get some rest. His acceptance speech.

And…fade to black. 

<3 u Tatum

What the Producer Said...9-1/2

I’ve heard a lot of people use the term “reinvent” to describe their approach to the next phase of their career.   I have never believed in this concept.  We are not inventions.  We were born with everything we need to succeed.  But, I don’t want to go all David R. Hawkins on you.

When it comes to my career and the advice I’ve given, I always look to examples from the entertainment industry.  What I’ve found is “restoration” works much better than “reinvention.”  I use the following three cases to illustrate.  (You might want to have Google handy).

Michael Eisner was one of the most powerful men in Hollywood when he ran Disney.  He was a smart and ruthless executive who did not tolerate disloyalty, yet looked for it at every turn.  But he also knew how to run a studio and was extremely successful.  Post Disney, he tried to reinvent himself as a nice guy talk show host.  His show was horrific, guests were few and far between, and ultimately no one watched.  (I am sure he is writing a book.)

His friend, Michael Ovitz was another who vied for that same title.  Ovitz founded a talent agency called CAA, but always longed to be much more than an agent. He became known for two things in the industry: making huge deals and for the line “I’m confused.”  Which, when uttered barely above a whisper, frequently meant your career was about to end.  Be that as it may, Ovitz reinvention as the #2(ish) man at Disney never worked out.  It was a failure from start to finish. He was not cut out to be a corporate man, and he hated authority.  (I am sure he is also writing a book…  and I can’t wait to read it.)

My last example is Merv Griffin. Merv started out as a paunchy radio crooner while still in his teens. He then became a talk show host; then invented TV syndication; then invented Jeopardy and Wheel of Fortune and then died a billionaire (without a book, I might add).  His success repeated over and over.

So here’s what.  Merv Griffin never tried to reinvent himself.  He engaged in restoration.  He looked to those things he loved that were (career-wise) sitting on a shelf collecting dust. And he figured out how to use them to move his career forward.  He became a talk show host because he loved people. He invented syndication because he wanted to control who he had on his show. Finally, he invented Wheel of Fortune because he loved crossword puzzles and figured other people did too.

At some point, you WILL feel like your career is stagnating. Before you yield to the latest  #trending media topic, I want you to try and restore interest in those things sitting on your shelf.  It might stop you from reinventing yourself out of a career.

And…fade to black.

What the Producer Said, The VIII

Every great producer or director discovered a genre that worked best.  Martin Scorcese is Gangster. Penny Marshall is Romantic-Comedy. Woody Allen is …Someone Who Was Funny Thirty Four Years Ago, etc.

If you want to be successful in the agency business, you need to take a page from your Hollywood colleagues and find the genre for you.  Sometimes it’s called a “specialty.” I hate that term because it implies that you could choose something else.  Directors and Producers succeed because at some point in their life, they were drawn to a certain type of story.  The genre chose them.

So here’s what.  To get you started here are five steps to discovering what genre works best for you.

Start With the Basics

Movies and advertising are both broken down into very simple categories.  There is advertising that makes us laugh, cry, and everything else, including scaring the crap out of us (freaky adopt a dog spots?). First, identify your category, then identify what industries fall into that category. We are talking concentric circles here.  This will significantly narrow the brands you should work on.

Know Thy History

Once you have narrowed the list of brands, simply pick those that interest you and study their marketing history.  What agencies have they been with? How has the brand evolved over the years? What awards have they won, etc.  Become an expert.

Get a Few Good Ones Under Your Belt

It took Wes Craven 12 years and six films before he became known as the Horror King.  Ideally, you want to work on a few campaigns within your genre. But even if you haven’t actually worked on them, study them.  These will become the answers to the interview question, “What current campaigns do you really like and why?” Standard.

Be Your Own Press Agent

In the movie Sweet Smell of Success, Tony Curtis plays a press agent who uses whatever tactics he can to get press for his Clients and keep them believing he has major contacts.  We no longer need the Sidney Falco’s of the world.  With social media, you are your own press agent.  Use your social media presence to opine on anything and everything that has to do with your genre.  It is simply mind-bottling how easy it is to set your self up as an expert.

Get On Set

Do whatever you have to do to work on accounts that fit your genre.  If you can’t do that right away, at least look for an agency that has those accounts,  and get in where ever you fit in.  Once there, your previous steps should set you up to eventually work on your genre accounts.  And after that, it’s all gravy.

Our industry has never been more like Hollywood in that personalities and reputations rule the day.  To succeed, you have to become one of those personalities. Easy for me, because I am so handsome.  Easy for you, because you have me.  As always, I wish you nothing but success!

And, fade to black.

What the Producer Said, On the Seventh Day

I took last week off to celebrate our country’s independence. I split my time between Sag Harbor and various parties at houses of friends and family.

Hollywood, much like advertising, is filled with nouveau riche.  People who are experiencing money for the first time, and in some cases the first generation to have financial success.  With that comes excess.

Here is where the two roads split.  If you are a Hollywood Producer, showing excess is good.  It means you know how to make money for yourself and others.  In advertising, showing excess is bad. It means you know how to take money and thus take money from others.

So, here’s what.  For you account leaders who are cracking that 200K+ sound barrier, let me offer a few tips for keeping the respect of your Clients.

An Explorer II is Still a Rolex

Your Clients tend to be surrounded by people who actually work for a living. They don’t want to see you walking into a meeting wearing a Rolex You buy yourself absolutely NO credibility by choosing to wear that to the meeting.  Keep an IronMan in your desk for just such occasions.  No one wants an agency with people who have time to climb mountains anyway.

Don’t be Norm if the Steaks Cost $40 Bucks

I have a colleague who is on a first name basis with everyone at The Grill in Beverly Hills. My first thought was, if I were his Client I would wonder why he is so familiar with this place and how much of my money paid for the relationship.  By all means, have your spot.  But when it comes to Client lunches or dinners, get a good reco from a friend.  If the food is good, you’ll be popular with the only person you need to impress that day.

Take the Rental

Howard Hughes was infamous for the jalopies he drove.  This was not because of his thrift, but more for his desire to remain non-ostentatious.  I know someone who lost an account because he decided to drive his Client in his Mercedes SL 500.   It wasn’t that his Client couldn’t afford to have a car like his. It was that his Client chose not to have a car like his. Clients always believe it is their money that bought you whatever you have.

Remember, You’re Still Turtle, not Ari Gold!

It kills me to watch people who act like they’ve had a personal assistant their entire lives.  I personally have never needed anyone to tell me where my next meeting was, and NEITHER DOES YOUR CLIENT.  You wanna play Ari Gold in the office, fine.  But when your Client is on campus, NEVER…EVER…ask your assistant what room you’re in, or when lunch is coming.  Not only do they expect you to know that, they kind of get off on the fact that you know that.  Let them have their fun.

Keep it Green

The Gold, Platinum and (….well F that, I am not talking to anyone who has a Black) card are Amex’s way of demonstrating Darwin’s theory of evolution.  The thing is, your Client wants to always feel like she’s walking a little more upright than you.  To that end, as you shell out $350 bucks a year simply to have your name stamped in grey plastic, remember to keep that “Get Into Delta Club Free” card sheathed when you are with your Clients.   They are likely to be rolling with a company Diner’s Club or Discovery card.  You whipping out your Platinum will only make their career choice seem that much more specious.

The point is, your Clients already feel like hanging out with you is the best part of their job.  You don’t want them to think you actually get paid more than they do to have all this fun?

And, fade to black.

What the Producer Said to the Account Exec, The Sixth Sense

In Hollywood, the “Rider” is a clause in an artist’s contract detailing specific “needs” (read: demands) they want to have met during the course of the working relationship.  Historically, riders were added to ensure contracts were actually being read, and promoters were handling things professionally.  Meaning, if there aren’t ten bottles of Vittel bottled water in my dressing room with the caps half-way twisted off, how am I going to trust you to take care of real stuff.

Riders range from the mundane such as Lady Gaga’s request for bendy straws, to the curious reason why Barbra Streisand likes rose petals in her toilet bowl; to the legendary “no trees” request by Paul McCartney, and Billy Bob Thornton’s “no antique furniture” clause.

So, here’s what.  Famous musicians do not have the franchise on contract riders. We have them in advertising too.  However, most are passed down by word of mouth, kind of like the Mosou language China…but without the cool spirituality.

Why not write them down?  Because much like the request for no brown M&M’s in the dressing room (Van Halen), they tend to seem incredibly silly and self-serving. But, in the minds of Clients, they are necessary to ensure you are “detail-oriented”.

So, here are the top five ACTUAL (unwritten) riders I’ve had to adhere to.

Rider #5

“No one is to speak directly to the Client. Even if he is looking directly at you while he’s NOT speaking to you."  This became a problem when I ran into my Client in the hall and he DIDN’T ask me where the mens room was.

Rider #4

“All written correspondence between the Client and agency must be set in 12 point Palatino font type, or else it will not be acknowledged.”   Do you have any idea how hard it is to hand-write a note in Pala-freaking-Tino?

Rider #3

“No single meeting can last longer than 30 minutes.”  To ensure this, my Client would literally place a stopwatch on the table and stare at it while we spoke.  This made for very awkward bathroom chats.

Rider #2

“When traveling, agency employees are not allowed to have better hotel rooms or seats on the plane.” This literally made me have to switch seats with my non-frequent-flyer-card-having Client on a cross-country trip. (But I kept the deluxe mixed nuts and the hot towel).

And finally…

Rider #1

“Chopsticks must be available as an option to flatware.”  I had a Client who had an aversion to putting metal in his mouth.  He ate all of his meals with chopsticks.  In order to make him seem semi-normal, the agency always provided chopsticks with every meal.  You wanna try eating a turkey club with two sticks and tell me how that works out for you?

The point being, every Client comes with a rider.  Take it seriously.  They’re not crazy (well, not usually. Bob, you ARE crazy!). They’re just making sure you’re paying attention.  Paying attention is what keeps them paying retainers! 

And, fade to black.

What the Producer Said to the Account Executive, The Fifth!

I’ve done stand up comedy; taught college, and pitched stories to Hollywood studios.

I say this, not to be impressive, but to impress upon you that I know something about meetings.

So, here’s what.  Five rules for your face-to-face meetings with Clients and potential Clients. Follow them and I guarantee you will be in command of any room.

Show up right on time.

This one sounds simple, but the psychology goes deep.  Your Clients are very busy people with schedules that are planned out at five-minute increments.  The last thing they need is some agency dude showing up fifteen minutes early. It pisses them off and makes them feel rushed, and you’re screwed.  (I don’t need to go into what happens when you’re late, do I?)  So, if you make great time through the tunnel, deal with it.  Give your Clients their time. That’s literally why god made Starbucks.

Compliments never hurt.

The first few minutes of any meeting are usually small talk.  Shit about the weather or whatever sports team you follow because you think your Client is going to be impressed…Blah.  Find something to compliment.  Clients are unique people. They are WAY into their companies.  My brother worked for Chevrolet for 30 years and every article of weekend clothing he owned had a Chevy logo on it.  So, if you can make a compliment about the office, or something on her desk, or the latest product launch, that will set a good tone for the meeting.

Keep the Canary alive.

In the old days, they kept Canaries in coalmines.  When the oxygen dropped, the birds would die and the miners knew it was time to get the fuck out.  You need to test the air periodically in your meetings. Whether it’s a new business presentation or presenting new creative, make sure you check in with your Client every 15 minutes to ensure things are going well.  This will keep you in control of the energy in the room.

Rise up, my people.

I am 6’ 2” and 225 pounds, which in the advertising world gives me a little bit of presence.  But that presence can’t be leveraged if I am sitting during an entire meeting.  If given the option of presenting from the front of the room or your seat, ALWAYS CHOOSE TO STAND.  Even if you are 5’ 5” you’ll tower over everyone. 

Hold that thought.

There are many stories from Hollywood of negative comments being made in the elevator or lobby of the studio after a pitch. These comments would later come back to bite them on the ass and sometimes kill a deal.  The same thing happens in our industry.  If you remember nothing, remember this.  When the meeting is over:  Say goodbye. Pack your stuff.  And don’t say a WORD until you are in the car. It's a small thing that may save your account some day.  So, you’re welcome!

Hopefully you’re reading this in Starbucks waiting for your Client meeting.

And, fade to black.

Part IV: What the Producer Said to the Account Executive

Comparing the movie industry to advertising will inevitably land you in a conversation about who are the “Stars”.  This to me is obvious.  The Stars are the Clients. Why? Because Clients are the embodiment of the brand.  And the brand is what we want the consumers to love.  A can of Red Bull can’t ask for Nascar tickets, but the brand manager expects them—and he will get box seats close enough to hear the pit crew farting.

So, here’s what.  I want to talk about three key insights about Stars.  Axioms in the film industry that can definitely translate to your Client relationships.

(Side note: Stars are personalities; most actors are performers.  Performers play many roles and are usually not the focal point of the movie.  Personalities have a specific look, style or element that is well known to the audience and thus, helps to draw in the audience.  Well know Brands have Stars for Clients).

Stars are demanding.  This is not to say they are mean or abusive.  Simply they have the sense they know what they want and you are expected to deliver.  Thus, as a Producer, the best way to handle a Star is to NOT give them everything up front.  How many times have you delivered early or under-budget on a job only to have your Client demand the same thing on the next project.  Always leave something for them to demand (it’s in their nature).

Stars are fanatics about protecting their reputation.  Their image and income depends on every project going well.  One slip up can cause irreparable damage.  Crispin Glover was on his way to sure stardom until he decided to throw a side-kick at David Letterman and then became labeled “nuts.”  And has hardly been seen since.  There are tons of examples like that from our industry.  So the next time your Client is in your office, or on a shoot and seems to be stressing over a brand issue that seems like minutia to you…understand it’s the brand the consumer blames when something goes wrong, not the agency. She knows that all too well.

Small issues are usually symptomatic of a larger problem.  There are tons of stories about Stars who don’t like the size of their trailers; or the person doing their make up or the fact they can’t party for 24 hours straight in a constant state of Warlock Wizardry (ok maybe not tons). But understand the human condition at play.  Much of this is misplaced anxiety.  Your job as the “Producer/Account Leader” is to unearth the underlying issue by handling your Star with delicacy.  Writing them off as crazy will just get you written off as agency of record.

If you take NOTHING else away, remember this.  Hollywood and advertising are both industries that deal in Sensory Art.  Everything we do is about the human condition.  How you fare at recognizing and dealing with the idiosyncratic issues will determine your success. Now, go out see some Stars.

And, fade to black.

What the Producer Said to the Account Executive, Part Tres

“This business is probably the most irrational business in the world.  These days all the majors, and most of the minors, are owned by multibillion-dollar conglomerates.” 

This could clearly be a quote about the advertising industry.  However, it is a quote about the film industry by Mike Medavoy.  Mike wrote a book called “You’re Only As Good As Your Next One.” 

That to me sums up the current state of our industry’s mindset. 

For those of you who don’t know, Mike Medavoy is a prolific Producer who was involved with eight Academy Award winning films…and TONS of films that are no where near that caliber.  But Mike started off as an “agent.”  Meaning, he was in the service business.  And I think what he learned can be a lesson to us all.

To paraphrase, "most agencies are so consumed with going after the marquee brands, that they don’t even consider the possibility of actually building a brand.” 

So here’s what.  We can learn a lot about new business by taking lessons from the great Producers. Forget the sequels, prequels and franchise pictures that you are seeing make marginal success.  Go back just a few years to films like “No Country for Old Men,” and “The Aviator.” 

These were pictures that were successful because the content was original and compelling.  In my opinion there are plenty of Clients out there with brands that are original and compelling.  The fact that agencies tend to chase after the same brands like they were high school cheerleaders, to me speaks to the inferiority complex that most big agencies feel.

My friend Dan Wieden built an agency with a brand no one knew how to pronounce.  My colleagues Jon Bond and Richard Kirshenbaum built an agency on a brand before they were even an agency.

Today, they are seen as visionaries.  And rightly so.  But, understand that we can all be visionaries.  Go after a piece of business because you believe that their content is original and what they offer CAN BE compelling if the right agency gets a hold of it. 

Every major studio in Hollywood passed on Star Wars.  20^th Century Fox, which was running on fumes, was the only agency willing to take a chance.

If you run an agency, be willing to take a chance.  If you work for an agency, be willing to recommend a Client whom you think is worth taking a chance on.  That's what makes this industry so amazing!

And…Fade to black. 

What the Producer Said to the Account Executive Part 2

So, here’s what.  If you come to my house and you want a snack you might just find a box of Crunch 'N Munch. Why? Because a lot of years ago that was one of my accounts and I have always believed that Account Leaders should first and foremost be  Fans of the Brand.

If you are lucky enough to be in a pitch meeting with a Hollywood Producer (which I have been many times) you will quickly understand that there is no bigger fan of that movie than THAT Producer.  For every Titanic, Gladiator and Million Dollar Baby, there are 10 Howard the Duck’s.  Why?  Because Howard the Duck had a Producer who pitched that movie like it was the greatest thing since Home Pride Butter Topped Bread.

This is what I am not seeing as much as I should in Account Leaders.  I am not seeing people who I believe are actually a Fan of the Brand.  The crazy thing is, this is true even when they’re a consumer of the brand.  I worked at an agency that had one of the major wireless and Internet service providers.  I won’t say the name, but it’s not AT&T, Sprint or T-Mobile. 

What constantly amazed me about the account managers on the business is how openly negative they were about their Client.  Meanwhile, 100% of them used the service.  I don’t need to get into why this is the case. Simply, this is wrong, and we need to get away from it.

If you work on a brand, you need to act like this is your family business.  You need to actually believe that anyone who buys from your competition is taking food off your table. 

Great example.  When I was an Account Exec at my first agency, I had a good friend who worked on Coca Cola.  He used to literally walk the halls of our 800+ person agency at lunch time, and if you had a competitive product on your desk, he would take it and leave you a Coke. No one told him to do this.  This is simply how much he believed in his brand.  He is now the CEO of one of the most successful Digital Shops in NY.  And I guarantee you… he is still walking those halls.

At the end of the day, we are NOTHING without our CLIENTS. Be a Fan of your Brand!

And, fade to black.

Just in case you didn't believe me.

What the Producer Said to the Account Executive

 

I have been fortunate to indulge my passions for both advertising and filmmaking.  I believe the best account leaders are essentially great producers.  Most would have a successful career in Hollywood. 

So I advise everyone to put down the double-spaced; three-inch margined “advertising books” and read about people who have built empires.  Media is media. If you want to succeed on Madison Avenue, you need to follow the rules of Hollywood.  To help you get started, here are my five very subtle “conventions” which straddle both worlds.  You follow these, and success will follow you.

1. READ EVERYTHING

A good producer will read every script he is given.  Your “scripts” are the trades and news-feeds.  Make sure you are up on every article that has anything remotely to do with your Client or agency.  It WILL come up at some point in conversation.  Grab a daily dose of RSS feeds.

2. LOOK PROFESSIONAL

If you’re at the Avalon in Beverly Hills by the pool, it’s very easy to tell the Producers from the creative types. I KNOW you are in a creative business, but flip-flops and three-day shadows are the domain of art directors. YOU need to be pulled together to get the respect of Clients and your team.

3. MAKE THE RIGHT CONTACTS

Many Producers end up with strong relationships at studios because they follow the old axiom “get in where you fit in.” If you want to make it, you need to make connections at the types of agencies where you ultimately want to work.  If you want to be a planner, make sure you “Link in” with anyone and everyone at strong planning agencies. Whether they are the CEO or Administrative staff, it’s all good!

4. END EVERY CALL FIRST

May sound strange, but if you can master this you will be shocked at how much power you will gain over your team and Clients.  The trick is very simple. Literally have a written agenda when you make a call, and NEVER take a call you are not expecting. Call the person right back once you think you know what they are calling about. My favorite end line is, “I know you’re crazed, so I’ll let you get back to work.”  Never fails!!

5. CREATE A PAPER TRAIL

I cannot express how important this is in both Hollywood and Madison Avenue.  Both industries are filled with people who have no problem throwing you under the bus to save their own ass.  But you can’t hate the player when it’s really the game. Make sure all of your Client meetings and discussions are documented.  You’d be surprised what people will deny saying once their backs are against the wall.

The similarities between the advertising industry and Hollywood are endless.  As a student of both, I hope to continue to be able to provide you with best practices that will hopefully make your ride less bumpy than mine.  Good luck!

And…Fade to black.