ITIAPTWC Episode 11 – Dave Dye Tranche Trois
First, an apology.
The eagle-eared amongst you will have noted that there was no episode last week, and, even worse, no word of an explanation.
Here’s what happened: on Saturday I drew a large glass of delicious water from my kitchen tap and placed it on the table. Then, with a quite awesome degree of clumsiness, I knocked the fucker all over my laptop. Optimistically, I followed the internet’s instructions for these situations and turned it upside-down with the keyboard open and waited for two days. On Monday I asked my lovely IT chums if they could salvage any of it. Alas, the whole lot, including files for all my past episodes and two that were ready for air, was lost.
Bugger, I said.
I then sent two very apologetic messages to the poor sods who had given me their best chat magic. Fortunately, both were very understanding,so we arranged for another go and all was well again.
So huge apologies and thanks to Dave Dye and Nigel Roberts. If any of you are planning to massively fuck something up, hope and pray for the generosity and kindness of those guys.
I could continue to bore you with tales of how I couldn’t get back into my WordPress dashboard to leave an explanation, but I imagine you’re already skipping on to the point where I introduce this week’s guest.
So here he is; back for a third time, and we’re still in the 1990s. This is Dave Dye’s BMP DDB years. Scroll down to see the work, click on the iTunes and Soundcloud links or the thingie below to get the audio.
Then play the episode to discover…
How playing football can help make decisions about which agency to move to
Why you should just write your way out of problems.
The benefits of having a hands-off CD
Why building a creative department is like organising a dinner party.
How to spin gold out of a campaign that another team doesn’t want to do.
Why a client’s trust can lead to much better work.
Roger Hawes or roger whores?
Why you should take on the unfanciedbriefs and accounts.
How to commission a great photograph.
How you end up shooting a man balancing on his nose.
What John Webster was like.
Why a disappointment for the creative department can also be a disappointment for account management.
Why you should move to an agency because it’s ‘better’.
How dividing and conquering can be a good move for a team.
And here’s the work we discussed:
