MUSIC+SOUND AWARDS TALK TO...
2017 JURY MEMBER +
GLOBAL CREATIVE DIRECTOR AT OGILVY & MATHER, DUSSELDORF
BRITTA POETZSCH
December 2016
Britta has worked at many top agencies in Germany since starting her career. At McCann Erickson The Communications House Berlin, she became the only woman in the German advertising industry to hold the title of Chief Creative Officer.
Since January 2015 she has worked for Ogilvy Düsseldorf as Global Executive Creative Director.
She has won many awards and has been a member of creative award jurys like Cannes, Dubai Lynx, ADC of Europe, ADC Germany, Deutscher Werbefilmpreis and many more.
You are now Global Executive Director at Ogilvy & Mather Dusseldorf. What is the creative culture like there?
Creativity must sell. This is not from me, but from David Ogilvy. And so we always work in that sense. And we know creativity is worth it. It makes the difference to a brand.
What are the main considerations for the team when deciding on music for an ad?
The most important consideration every time is what role does the music have? Does it drive and support the story? Or is it just a gap filler? Does the brand have a certain sound or musical identity? Does the music fit the brand? What is the feeling we want to generate? What should the music convey?
Have you noticed a change in terms in terms of what type of music is being licensed / commissioned?
In Germany, we often try to convince clients to use an original song first. The customer thinks it great until they hear what it will cost and then many clients need a respirator. In the end, a music production is commissioned as closely as possible to copy the original. Of course, half of them do not work, and many compromises are made until everything is watered down. For international work I always listen to really big hits. There is hardly any such thing in Germany.
Can you give us a rough idea of the ratio of original compositions vs. existing music that you use?
This always depends on the budget. I would say newly composed music prevails. This is usually more affordable. Often we also use music from a catalog.
What do you see as the correlation between advertising and music / sound?
We have to tell stories for brands that touch or interest people. And how do you touch people? It's best with music, because that is the language of the emotions.
Can you think of any ads that are perfect examples of creative excellence in music or sound?
I find every year the music selection for the John Lewis Christmas films is perfect. And not only is the selection great, but every picture, every emotion, fits exactly to the music.
