To pitch or not to pitch?
That’s the question that many agencies have been asking themselves. Should they say “yes” to appearing on AMC’s “The Pitch?” Most have loudly said “no.”
The debate started last summer. Ad Age reported that scores of agencies were turning down the show, which films two agencies from the inside as they compete to win the same account. An Ad Age guest columnist worried that, among other things, his agency’s “secret sauce” would be spilled by appearing. The debate continued last week in Stuart Elliott’s New York Times column, “Getting Ad Agencies Into Reality TV.” More agency PR platitudes. To which ad man and Forbes.com blogger Will Burns shot back, “There is no ‘secret sauce.’”
So why say “yes”? If you want some exposure, you can’t ask for a better lead-in than “Mad Men.” The nation is going “Mad” everywhere you turn. Wieden + Kennedy does not need more visibility. But 97% of advertising agencies across America probably do.
I’m convinced that the real reason agencies turned down “The Pitch” is that they feel they have something to hide. The cameras would show the world, and their clients, who they really are.
I ask, are you working, or have you ever worked, at an ad agency with the following issues:
Employees who hate management?
Bosses who steal ideas from their underlings and take the credit?
A completely dysfunctional organization?
Sufficient interoffice drama to outdo a soap opera?
Creatives with the maturity of spoiled toddlers?
Colleagues eager to stab each other in the back with the sharpest knives possible?
Bureaucracy upon bureaucracy upon bureaucracy where nothing gets decided?
Enough bickering, bitching, hissing and attitude to light up a small town?
Departments so full of enormous egos, it’s like “Clash of the Titans” on an hourly basis?
Agencies ruled by fear, egomaniacs and contemptible jerks?
Just as I thought. Who on Earth would want to expose themselves?
So, why WDCW say “yes”? Quite simply, we were not afraid to be naked in front of the cameras. We don’t have a “secret sauce.” But we don’t work in a snake pit either. We’re built around a creative process called “The Democracy of Good Ideas,” the belief that anyone can have a good advertising idea, not just a creative person. We invest everyone in the process, especially the account folks and, yes, the client. No prima donnas. No backstabbing. No shouting. No scheming. No egos.
The “Democracy” isn’t meant to be secret or proprietary. A lot of agencies try to work this way. But it’s hard to pull off, simply because creative people are by their nature ego-driven. We wanted the world to see our process, experience our “Democracy.” That is why, after weeks of internal debate weighing the pluses of publicity for our work against the possible minuses of embarrassment or failure, we said yes to “The Pitch.”
There was a lot of handwringing before the cameras started to roll. Would the crew impede our process? Would they mess up our rhythm and cause us to fall short creatively? Would the work of our clients be compromised?
The producers, Studio Lambert, promised that their crew would not get in the way. They were clear up front and set good boundaries. They would not shoot us working on our existing clients’ businesses and would stick to the competition created for television. They would focus only on the team that was on the “Pitch” project. They would respect our privacy (no following us into the restroom), but asked for full access to conversations and meetings about the project. They promised to be as unobtrusive as possible, and for the most part they were.
Of course, there were a few times when we wished they weren’t around. We started with 20-plus ideas for the project and ended up presenting three. Getting to those final ideas did arouse some heated debates. But we never asked them to turn the cameras or our mics off.
At first, the effect in the office was a little unsettling. We weren’t used to having cameras, mic booms and lights in our faces. But after two days of shooting, everyone in the agency seemed to settle in. We were competing head-to-head for a Subway project with McKinney. Yes, there was a lot anxiety about winning or losing to them on national TV, but this is what we do for a living. The stage may seem bigger, but once we were in the flow of the pitch, it was business as usual.
We got along great with the TV crew. Producer/Director Steven Garcia called it a case of “Stockholm Syndrome,” the phenomenon where hostages develop empathy and positive feelings toward their captors. We ended up inviting them to our holiday party and have stayed in touch.
I’m sure that all along they were searching for oddball characters, tension and/or scintillating story lines, but without much success. What the cameras captured were junior and senior creatives, interns, account folks, producers, digital, social and planning departments collaborating in conference rooms, hallways, even in the parking lot shooting baskets. There was no real drama.
At the end of the shoot, the crew said that our process was different than others they had filmed. Our “Democracy” managed not to flinch in front of 24/7 cameras. The agency may not make great reality TV, but we did produce interesting ideas for the client, Subway. And I don’t think we came off like repulsive jerks.
Following our group’s positive experience, the producers asked if I would encourage other ad agencies to sign up for the show. I have talked to multiple agency principals and heard the same question over and over again, “Are we going to come off like idiots or jerks? We’re worried.” My response is always, “If you’re not idiots or jerks, why worry?” They are confirming my belief that most everyone who refuses to appear thinks they have something to hide.
Come the premiere April 8 our agency will be exposed with full frontal agency nudity to millions of TV viewers and, perhaps worse, to the entire advertising industry. Our biggest worry is the final edit of the show. We have no control over it, and we know what an editor can do to a story. (Just think how Stephen Colbert can skewer a member of Congress with the splicing of a few choice sound bites.)
But in the end, I think that a lot of agencies that said “no” will wish they hadn’t. Being honest and real makes for the best client/agency relationships. Having those qualities revealed about yourself on national television, showing that you have nothing to hide, is some of the best publicity anyone can get.
Hi Tracy. I think the show was an excellent risk, and an accurate portrayal of your company. Regardless of whether or not you got the Subway account, you received your own advertising that cannot be measured. New and potential clients can really get a feel of what your company is truly about.
The idea of the Breakfast ZAMbie I felt was excellent, it just lacked a certain something to shove it all the way into the hearts of the Subway Marketing team. (Time, for one thing, and if McKinny had only presented their first idea, we’d be having a different conversation right now!!!)
If I ever get into your neighborhood, I’d truly love to have a tour of the company. Creatives crave like minded individuals, and I’d love to take my craft to the next level. I’m just a small market radio personality with huge ideas. However, I still give our clients thought provoking spots rather than just jot down some copy. I turn out better than average spots, yet it makes me a bit unpopular with the brass. (Just write it and do it mentality… sigh…) Could be, I missed my calling!!! Yet I cannot help but think in terms of campaigns rather than quick 30′s.
Anyhow, sending you and all the gang my very best wishes for absolute success in all you do!
Best Regards ~ Cat Rucklos
Thanks for the wishes. zAMbies was a risk worth taking. National cable!
I think your NYT quote comparing agency creatives to gladiators– ” (slugging) it out in the gladiator arena with all these other naked, glistening, sword-wielding agencies” may have killed your credibility. That’s hilarious. And weird. Maybe “The Pitch” should be a show about mental health in the office place.
A little levity in what turned out to be a very serious edit.
I really like the way you presented, when I watched the show, you had command of the Subway staff, when I watched McKinnys presentation, it was really awkward. No one from your staff came across like jerks, I cant say the same for your competition tho. Their creative director came across like a big asshole.
I also like your campaign way better. After i seen the outcome, I thought, did they just see the same thing that I saw?? But being reality TV, probably not.
Hi. I just watched the 1st episode of The Pitch on Netflix. I have been an art director for 19 years and I have to say you all handle yourself as complete professionals. It was exciting to see the industry I’ve loved for two decades highlighted on television. An I was proud you all represented what I do with integrity. I know there were other great ideas presented that didn’t make it in the show but it was my feeling that “zAMbies” did have more legs than the McKinney spot. Maybe that’s what Subway was looking for, a quick short live viral video to pull the kids in for Q3, i don’t know. To be honest it reminded me of the old Chicago Bears “Super Bowl Shuffle” video in the 80′s. Anyway, Im a fan Mr. Wong and kudos to you and your team. Who was the true creative leader genus at McKinney anyway, the rapper Foodie McD?
Look maybe thats why agencies aren’t running for a chance to be apart of this reality show. The power of public perception truly lies with the likes of Producer/Director Steven Garcia in an industry that is already competitive and unpredictable. Sure its all cordial and sweet for the first few episodes but as the season rolls on you still need conflict. Right? And what agency need’s a prospective client to see them in an skewed editorial manner. Ratings does unusual things to a producer, look at Bravo’s Real Housewives. My god. Look at Madmen, what we really love about the show is the, booze and sex mixed with a little industry jargen to keep us interested. It was a short lived era that wasn’t sustainable. Its a nice ego boost to be included in the reality circus; since we are all rock stars. But the truth is we exploit others -we don’t exploit ourselves. We know better, right? This is our career’s. We know what can happen to the unwise-we are in the industry. I say leave the dog and pony exploit pitches to the Apprentice and the professional pony shows to the…undeserved professionals. Clients are fickle and we all have mortgages to pay. Its our job to add colorful rocks and treasure chest’s to the fishbowl. Not to swim inside. It’s what we do.
All best,
James
Hello, I just watched the show last night on the italian channel. I didn’t know “The Pitch” and at first I thought it was fiction, not real world, even though I knew your agency and the other one competing against you. I think you did the right choice, accepting the crew inside your agency: quoting yourself, “If you’re not idiots or jerks, why worry?”. Good job, sorry you lost, I really loved your idea. I myself run an advertising agency, a small one, and I do believe “The pitch” can teach a lot to the people of our industry.
Best regards,
Ugo
Ugo – Thanks for the props all the way from Italy. Being on the show, we learned and confirmed a lot about our agency. It has truly helped us in pitches since then. Thanks, TW