人物背景：今天的主角是Yacco Vijn:  2011年Cannes Lion戛納國(guó)際廣告節(jié)Cyber Lion評(píng)委；2012年Webby Awards國(guó)際廣告節(jié)評(píng)委；曾多次擔(dān)任FWA和藝術(shù)指導(dǎo)俱樂(lè)部（Art Directors Club）評(píng)委席的座上嘉賓；現(xiàn)任荷蘭TBWA\NEBOKO的創(chuàng)意群總監(jiān)。他的作品是全球各大頂級(jí)獎(jiǎng)項(xiàng)的常客，包括戛納獅子，Eurobest歐洲創(chuàng)意節(jié)，紐約廣告節(jié)（NYF），威比獎(jiǎng)（Webbys） 和Art Directors Club。

曾經(jīng)對(duì)話鏡明先生：《互動(dòng)中國(guó)專訪: 日本廣告教父 電通 鏡明先生——?jiǎng)?chuàng)意思維的角度》，我們看到了一位典型日本廣告人的創(chuàng)意哲學(xué)；那么今天您將看到的，則是相對(duì)更直截簡(jiǎn)明的西方廣告人的創(chuàng)意觀點(diǎn)。

國(guó)際廣告界（尤其是創(chuàng)意領(lǐng)域）如今依然將戛納、威比等國(guó)際獎(jiǎng)項(xiàng)作為指南，也是我們尋求“什么是國(guó)際公認(rèn)的好創(chuàng)意”時(shí)最先想到的參照物。在Yacco先生身上我能看到現(xiàn)今國(guó)際廣告界極有代表性的特征：創(chuàng)意至上、推崇簡(jiǎn)約創(chuàng)意表達(dá)、具有斬釘截鐵的創(chuàng)意主張、對(duì)創(chuàng)意和生意有獨(dú)到見解、他的作品也獲獎(jiǎng)無(wú)數(shù)、在數(shù)字廣告圈風(fēng)雨兼程十五年，一樣是披星戴月，與優(yōu)秀創(chuàng)意同行??同時(shí)，作為各個(gè)國(guó)際獎(jiǎng)項(xiàng)的資深經(jīng)驗(yàn)人士，他也坦誠(chéng)提出中肯的建議。

五大創(chuàng)意追問(wèn)，一起解讀這位來(lái)自荷蘭的廣告創(chuàng)意人背后的創(chuàng)意觀點(diǎn)。

采訪&編譯： Vivian Peng
(原創(chuàng)內(nèi)容, 轉(zhuǎn)載請(qǐng)務(wù)必注明來(lái)自數(shù)英網(wǎng))

先從作品說(shuō)起，是更好地了解背景，也是對(duì)優(yōu)秀創(chuàng)意的回顧與尊重。案例來(lái)自Yacco Vijn及其帶領(lǐng)的荷蘭獨(dú)立廣告代理公司KONG，2010年戛納國(guó)際廣告節(jié)銀獅得主，最佳公關(guān)活動(dòng)，最佳社會(huì)化媒體/新媒體技術(shù)應(yīng)用：

Stanislav: Strikes Again And Again

2009年8月，荷蘭司法部門組織對(duì)年輕人群發(fā)起一波旨在提升公民對(duì)網(wǎng)絡(luò)犯罪防范意識(shí)的公益活動(dòng)。當(dāng)時(shí)的荷蘭，85%的年輕人每天都泡在當(dāng)?shù)氐纳缃痪W(wǎng)站 Hyves上，選擇Hyves開展活動(dòng)再好不過(guò)。

活動(dòng)以一個(gè)與“YouTube’極為相似的定制視頻作為核心，展示的是一個(gè)地下的犯罪團(tuán)伙如何搜集人們?cè)谏缃痪W(wǎng)站上的個(gè)人資料。同時(shí)在Hyves上搭建活動(dòng)迷你站。用戶在首頁(yè)就能觀看該視頻，利用病毒傳播效應(yīng)，激勵(lì)網(wǎng)友將視頻轉(zhuǎn)發(fā)給Hyves好友。此外根據(jù)Hyves的開放API對(duì)用戶進(jìn)行IP定向、針對(duì)不同性別和社交關(guān)系信息播放個(gè)性化視頻，讓受眾感覺更加真實(shí)。

廣告推出后, 在沒(méi)有任何媒體購(gòu)買的情況下，當(dāng)天就得到了54,661的瀏覽量；兩天后，瀏覽量達(dá)到了2,505,690次。一周之內(nèi)，視頻被轉(zhuǎn)發(fā)了7,014,285次。在這短短7天之內(nèi)，荷蘭有史以來(lái)最大的社會(huì)化媒體病毒廣告誕生了。這應(yīng)該也是近10年來(lái)最成功的荷蘭政府廣告運(yùn)動(dòng)。

更多關(guān)于此案例的具體信息和Credits，請(qǐng)點(diǎn)擊此處。

那么，Yacco Vijn到底是誰(shuí)

他曾經(jīng)是荷蘭一家國(guó)際知名的電子音樂(lè)廠牌Ableton Live的重要成員，國(guó)際巡演的DJ/制作人。2007年他作為合伙人創(chuàng)立了KONG ，并且?guī)ьI(lǐng)KONG以獨(dú)立創(chuàng)意代理公司的身份在國(guó)際上獲得了認(rèn)可和殊榮，成為荷蘭第一支也是至今唯一沖入國(guó)際TOP 10的獨(dú)立廣告公司。此前，Yacco曾任Poke倫敦創(chuàng)意總監(jiān)，Skipintro互動(dòng)公司合伙創(chuàng)始人，Lowe Digital創(chuàng)意副總監(jiān)。他的作品屢獲國(guó)際各大廣告獎(jiǎng)項(xiàng)的青睞。正如Heeftstiji的記者所描述的那樣，從外形、思維到作品，Yacco有著濃郁的現(xiàn)代西方（至少是歐洲）廣告界典型的“創(chuàng)意總監(jiān)”所具有的風(fēng)范。

然而，就在今年12月1日，也就是幾天之前，Yacco離開了Kong ，加入TBWA\NEBOKO阿姆斯特丹擔(dān)任創(chuàng)意群總監(jiān)。這使我們感到疑惑，記得他曾在某個(gè)采訪中談到了“保持獨(dú)立性，是保持團(tuán)隊(duì)產(chǎn)出好創(chuàng)意的重要原因之一。”??因此，我們更好奇在這一轉(zhuǎn)身的背后，具體原因是什么呢？

創(chuàng)意追問(wèn)之一：好創(chuàng)意需要因趨勢(shì)而轉(zhuǎn)變

數(shù)英網(wǎng)：您加入阿姆斯特丹的TBWA\NEBOKO擔(dān)任Managing Creative Director，這一變化對(duì)你來(lái)說(shuō)意味著什么？ 你覺得在KONG這樣的獨(dú)立創(chuàng)意團(tuán)隊(duì)里工作和在TWBA這樣的國(guó)際化大公司里工作有什么不同？從創(chuàng)意的角度出發(fā)，哪一種公司的氛圍更有利于創(chuàng)作出好的作品？

Yacco: 作為一家創(chuàng)意代理公司，KONG的規(guī)模比較小——大約是10個(gè)人左右，而TBWA\NEBOKO是荷蘭最大規(guī)模的廣告公司，擁有230名左右的員工。并且，近十幾年來(lái)，TBWA\NEBOKO的作品屢獲殊榮，是荷蘭公認(rèn)的最受推崇的廣告公司，對(duì)我來(lái)說(shuō)是個(gè)全新的重大挑戰(zhàn)，另一個(gè)重要的原因，只有TBWA\NEBOK0能夠成為荷蘭所有廣告公司中唯一擁有傳統(tǒng)創(chuàng)意人和數(shù)字廣告人同在一個(gè)創(chuàng)意組的廣告代理公司，這意味著在創(chuàng)意層面可以真正跨越傳統(tǒng)與數(shù)字兩領(lǐng)域，制作出真正整合性創(chuàng)意作品的地方。（這將會(huì)是我加入這里的主要任務(wù)之一）。

數(shù)英網(wǎng)：那么您眼中的互動(dòng)廣告的未來(lái)趨勢(shì)是怎樣的？小型的獨(dú)立互動(dòng)廣告公司在這樣的趨勢(shì)下又將如何發(fā)展？

Yacco: 我覺得大家對(duì)于數(shù)字廣告的理解普遍都有失偏頗，對(duì)我來(lái)說(shuō)數(shù)字廣告的未來(lái)趨勢(shì)是整合——我相信對(duì)于任何一個(gè)Brief來(lái)說(shuō)，最好的創(chuàng)意必然是不受媒介與渠道限制的。無(wú)論是傳統(tǒng)廣告渠道亦或是數(shù)字互動(dòng)形式，互聯(lián)網(wǎng)介質(zhì)，無(wú)論在哪里，好的Idea必然值得人們樂(lè)于分享。

編者解讀：

或者是忘記了問(wèn)題的后半部分，但是依然可以看得出，從他的角度來(lái)說(shuō)，作為獨(dú)立的創(chuàng)意公司，要繼續(xù)保持創(chuàng)意的優(yōu)秀性，也必然需要將創(chuàng)意思維做出轉(zhuǎn)變，創(chuàng)意將不再受到渠道和媒介的制約。

創(chuàng)意追問(wèn)之二：創(chuàng)意的要素與要求

數(shù)英網(wǎng)：一個(gè)偉大的創(chuàng)意理念的關(guān)鍵元素是什么？

Yacco:好的創(chuàng)意肯定是能夠讓人感到激動(dòng)和興奮的，并且，能夠輕松簡(jiǎn)單地向人們傳達(dá)這個(gè)點(diǎn)子。好的創(chuàng)意也必然是使人們?cè)敢庵鲃?dòng)地投入其中，并樂(lè)意把這個(gè)作品分享出去的。（A great creative idea is something worth sharing, something people like to talk about and work on.）

數(shù)英網(wǎng)：可消費(fèi)者變得越來(lái)越挑剔了，因?yàn)槭忻嫔系暮脧V告真的不多，各種噱頭，大獎(jiǎng)，只不過(guò)一些機(jī)械的手段來(lái)吸引大家的注意力，不知道在荷蘭，歐洲有沒(méi)有這樣的現(xiàn)象？您會(huì)怎樣看待？

Yacco:這是一個(gè)“注意力經(jīng)濟(jì)”主導(dǎo)市場(chǎng)的時(shí)代，肯定有越來(lái)越多的訊息出現(xiàn)。唯一讓廣告作品受到消費(fèi)者關(guān)注的方法就是要足夠創(chuàng)新，有創(chuàng)造性。能使人們覺得眼前一亮。

對(duì)于品牌的問(wèn)題，我想說(shuō)，我堅(jiān)持認(rèn)為只有那些對(duì)于受眾關(guān)注的內(nèi)容有所重視和意識(shí)的，期望與消費(fèi)者之間進(jìn)行進(jìn)一步交流，并愿意為之去做點(diǎn)什么，只有這樣的品牌，才真正能夠在這個(gè)時(shí)代的市場(chǎng)競(jìng)爭(zhēng)中最終脫穎而出。今天的廣告主們都應(yīng)該了解到這些。

編者解讀：

好的創(chuàng)意對(duì)客戶該不該有要求？ 從Yacco身上，答案應(yīng)該不言自明。巧合的是，曾經(jīng)在華揚(yáng)聯(lián)眾的戛納評(píng)委分享會(huì)上，有人提了類似的問(wèn)題：“如果客戶對(duì)創(chuàng)意一直沒(méi)太大要求，只要一般般就行了，如果一直維護(hù)這樣的客戶，我們?cè)撊绾胃玫貞?yīng)對(duì)并且不失創(chuàng)意水準(zhǔn)？ ” 當(dāng)時(shí)Yacco給到的答案很簡(jiǎn)單：’如果你對(duì)創(chuàng)意很有追求，但工作上老是面對(duì)這樣的客戶，我勸你們可以考慮下?lián)Q一個(gè)客戶。” 聽起來(lái)很簡(jiǎn)單，當(dāng)時(shí)很多人笑了。笑的是什么呢？

創(chuàng)意追問(wèn)之三：創(chuàng)意人該以“獲獎(jiǎng)”作為追求嗎

數(shù)英網(wǎng): 得獎(jiǎng)?wù)娴暮苤匾獑幔吭?jīng)做DJ的時(shí)候有什么獲獎(jiǎng)追求嗎？“DJMAG TOP100”? 作為創(chuàng)意人，在你心里，戛納金獅這樣的各種大獎(jiǎng)對(duì)你來(lái)說(shuō)意義何在？

Yacco: 做DJ的時(shí)候，好像還沒(méi)有“DJMAG TOP100”這樣的將出現(xiàn)，哈哈。作為一個(gè)創(chuàng)意廣告人，戛納對(duì)我來(lái)說(shuō)，是廣告創(chuàng)意界的奧斯卡，是全球創(chuàng)意領(lǐng)袖的聚集地，走進(jìn)戛納對(duì)于創(chuàng)意人是一種認(rèn)同和榮譽(yù)，意義非比尋常。當(dāng)然，現(xiàn)在市面上各種廣告獎(jiǎng)多如牛毛，要懂的分辨，哪些值得重視 —— 比如戛納，威比，當(dāng)然值得重視。

數(shù)英網(wǎng): 您已經(jīng)是各種國(guó)際創(chuàng)意廣告大獎(jiǎng)的評(píng)委席座上常客了。從ADCN,到FWA，再到戛納 CYBER LION，2012年您又將出席WEBBY大獎(jiǎng)的評(píng)委席，從您的個(gè)人經(jīng)驗(yàn)角度，說(shuō)說(shuō)這幾個(gè)國(guó)際大獎(jiǎng)之間的區(qū)別和分別的特色吧？

Yacco: 從我個(gè)人的經(jīng)歷來(lái)說(shuō)，我認(rèn)為：

• Cannes Lion：原創(chuàng)商業(yè)廣告中創(chuàng)意方面杰出代表作為主。

• THE FWA：優(yōu)秀的設(shè)計(jì)，出色的互動(dòng)網(wǎng)站作品。

• ADCN: 在制作上無(wú)可挑剔的廣告作品為主

• Webby: ;從威比的獲獎(jiǎng)作品中，能夠感受到人性之愛，能夠引起受眾內(nèi)心共鳴的作品。

創(chuàng)意追問(wèn)之四：中國(guó)創(chuàng)意的戛納夢(mèng)究竟還缺什么

數(shù)英網(wǎng): 太多活動(dòng)拿著“如何贏得戛納，該怎么在戛納獲獎(jiǎng)“之類的旗號(hào)作為噱頭，我們互動(dòng)中國(guó)其實(shí)從來(lái)不怎么推崇這樣的方法論，多少會(huì)覺得不真誠(chéng)。只不過(guò)，面對(duì)一個(gè)戛納評(píng)委，還是忍不住想要為所有的中國(guó)創(chuàng)意同胞問(wèn)一句：你們做評(píng)委的，究竟怎么看我們中國(guó)的創(chuàng)意作品啊？ 差距究竟在哪里？

Yacco: 我覺得語(yǔ)言/文字依舊是重要的障礙。另外，我們發(fā)現(xiàn)提交的來(lái)自中國(guó)的創(chuàng)意作品總是會(huì)先說(shuō)太多太多的背景鋪墊，然后才說(shuō)正題，其實(shí)，我的建議是，如果參加戛納這樣的西方廣告節(jié)，也許應(yīng)該把創(chuàng)意陳述說(shuō)的越簡(jiǎn)單越好，千萬(wàn)別擔(dān)心什么重要的鋪墊我們不知道會(huì)讓我們覺得這個(gè)IDEA不好之類的想法??

數(shù)英網(wǎng): 有見過(guò)你特別喜歡的中國(guó)作品嗎？

Yacco: 當(dāng)然有，今年戛納中國(guó)公司提交的為Samsonite制作的廣告作品創(chuàng)意就很棒！我很喜歡！（好吧，果然還是上海JWT為新秀麗 Cosmolite演繹的《天堂與地獄》）

數(shù)英網(wǎng): 中國(guó)創(chuàng)意人對(duì)戛納的重視態(tài)度毫不亞于西方人，我們一直潛心研究所有戛納的優(yōu)秀作品，渴望從中找到成功的創(chuàng)意方法，可是一直在學(xué)，成效似乎也就這樣，您自己曾經(jīng)為各大AGENCY都做過(guò)培訓(xùn)演講，您覺得怎么樣學(xué)習(xí)比較好？有什么好建議嗎？

Yacco: 看到一件喜歡的好作品的時(shí)候，千萬(wàn)別看作品本身，這沒(méi)用，必須回到這個(gè)作品背后的BRIEF，然后設(shè)身處地，若你接到這個(gè)BRIEF，你會(huì)怎么做？自己試著給自己出題，想出自己認(rèn)為好的解決方案。然后將自己的解決方案和原本那件好作品進(jìn)行對(duì)比，然后理解差異在哪里。這種學(xué)習(xí)方法也許比較費(fèi)事，但一定來(lái)的更有效。

創(chuàng)意追問(wèn)之五：歲月流逝時(shí)局變遷，創(chuàng)意人如何“保鮮”

數(shù)英網(wǎng)：擁有15年資深廣告從業(yè)經(jīng)驗(yàn)的創(chuàng)意人，今天，卻又選擇開始另一段創(chuàng)意追求之路。回想我們身邊有不少有著大把廣告行業(yè)經(jīng)驗(yàn)的創(chuàng)意前輩，其中不少都會(huì)有不同程度的“中年危機(jī)”現(xiàn)象。做廣告人這么多年，還要面對(duì)時(shí)代的考驗(yàn)，尤其做互動(dòng)更傷不起有沒(méi)有？技術(shù)變化那么快，創(chuàng)新的東西一天一個(gè)樣，怎么追求才是個(gè)頭？西方廣告人會(huì)有這樣的困境么？ 有好的方法和建議嗎?

Yacco: 有一個(gè)很簡(jiǎn)單的辦法，那就是多招一些年輕人到自己的團(tuán)隊(duì)，有意識(shí)地把上了年紀(jì)的“思維較傳統(tǒng)的”互動(dòng)廣告人和年輕的互動(dòng)人在一起“混搭”，這不僅可以使團(tuán)隊(duì)在技術(shù)上與時(shí)俱進(jìn)，也能保持對(duì)新事物和新點(diǎn)子充滿動(dòng)力。當(dāng)然，有興趣的話，可以和我多聊聊，活躍下思維。?

數(shù)英網(wǎng): 您做廣告這么多年，如果有機(jī)會(huì)做個(gè)全新的選擇，您想做什么呢？

Yacco: 還是一樣，我愛我的工作！

數(shù)英網(wǎng): 平時(shí)您都是怎么培養(yǎng)創(chuàng)意，從哪兒找靈感的呢？

Yacco: 隨時(shí)，隨處。

數(shù)英網(wǎng): 最后，未來(lái)有什么跟中國(guó)有關(guān)的計(jì)劃嗎？

Yacco: 很高興能得到華揚(yáng)聯(lián)眾的邀請(qǐng)，有機(jī)會(huì)到上海和北京做了一次創(chuàng)意分享。我想，在12年有機(jī)會(huì)的話，我還會(huì)多來(lái)中過(guò)幾次，與中國(guó)的朋友做更多的交流。

結(jié)語(yǔ)：

非常感謝Yacco先生接受我們的訪談，期待更多交流的機(jī)會(huì)。此外，還要感謝華揚(yáng)聯(lián)眾組織的戛納評(píng)委分享會(huì)，讓我們有機(jī)會(huì)了解與結(jié)實(shí)更多國(guó)際廣告界的朋友。也希望互動(dòng)中國(guó)的每一次訪談都可以為我們本土的創(chuàng)意廣告人帶來(lái)一些收獲和小小的幫助。

附件：案例參考

Stanislav: Strikes Again And Again

URL：http://award-entry.com/stanislav/

案例成效：
訪問(wèn)量: 5,113,115
有效受眾: 500,000（持續(xù)受到2個(gè)多月的關(guān)注）
參與用戶: 9,030,261 Hyves profiles (8,000,000 active)
有效觸及荷蘭當(dāng)?shù)厝藬?shù): 16,500,000
轉(zhuǎn)發(fā)視頻人數(shù): 7,014,285
轉(zhuǎn)發(fā)率: 1,37
平均訪問(wèn)時(shí)長(zhǎng): 4,22 minutes
每秒訪問(wèn)人數(shù): 11,59
每秒最高訪問(wèn)量: 2500
廣告推出第一天訪問(wèn)量: 54,661
峰值日訪問(wèn)量: 2,505,690
媒體購(gòu)買: € 2,500 (投放至Hyves Minisite)
獲得媒體報(bào)道估值: € 1,200,000 (Source: Bex PR)

CPC: € 0,0023
廣告持續(xù)時(shí)間: 僅7天時(shí)間！

Full Credits：
客戶: Dutch Ministry of Justice
廣告公司：Kong (荷蘭 Amsterdam)
創(chuàng)意總監(jiān): Yacco Vijn
文案: Martijn De Vreeze
美術(shù)指導(dǎo): Arno de Jong， Yacco Vijn
制作公司：Mario Piepenbrink
制片: Christ Bloemheuvel
導(dǎo)演: Judith Lavalette， Roel Welling
剪輯: Roel Welling
其他工作人員:
Managing Director:  Peggy Wijtzes
Strategy Director:  Trudelies Van Der Poel
Senior Advisor Campaign Management:  Petra De Jong
Advisor Campaign Management:  Frederike Van Dorst
Policy Advisor:  Anja Van Zantvoort
Communications Consultant:  Dennis Cohen
Project Manager:  Tisha Hoppenbrouwers

Original

1.Introduce yourself shortly to our readers?

My name is Yacco Vijn and I‘m a dutch digital Creative Director from Amsterdam, The Netherlands. I’ve been working in digital for about 15 years.

2.You are going to join TBWA\NEBOKO Amsterdam as Managing Creative Director. What this change means to you? Will you still be the creative director of KONG meanwhile? Do you have any story to tell about this change?

I left the company I helped set up to join TBWA\NEBOKO. KONG is quite a small agency – about 10 people, which is quite different from TBWA\NEBOKO, which is around 230 people. For me this is a great challenge not only because TBWA\NEBOKO has been the biggest and most awarded agency for over a decade in the Netherlands now but also because they will be the first big agency here that will have a creative team from two disciplines (digital and integrated) as its Creative Directors.

3.What do you think the differences between traditional advertising and the digital advertising? What will be the future trend for digital ad? What is the future for small independent agencies in digital ad world?
I think the term Digital had eroded a bit. To me the future is integrated – I believe in the best solution to a brief and that can be anything. As long as whatever you come up with it is ‘worth sharing’ .

5.What is the key factor of a great creative idea in your opinion?
A great idea is exciting, it is something that you can explain to people in just a few sentences. A great creative idea is something worth sharing, something people like to talk about and work on.

6.A good idea might be appealing enough to consumers, but not certainly satisfactory to clients, coz clients always want to make effective ads. They would rather copy a successful case, execute in a similar way coz they think it is safe for the results; do you agree that innovative ideas are always taking risks? How do you think about this kind of dilemmas? What is the way out for creative people?

I believe that in the attention economy there is too much, and there will be much more, information. The only way to stand out is to be innovative and creative. I think the brands that get this, that want to be part of conversation, are the ones that will have the potential for enormous growth.

7.Ad industry is in a changing mode with the times. Digital media is a typical one in this case, even with bigger challenges for all people in digital ad world. What are the influences brought to creative men in this industry? In order to avoid “mid-age crises” that many ad people in China would suffer from, what do you think is the best way for creative admen to always catch up with times and keep innovative along the road?

Hire young talent. Mix up teams; put more ‘traditionally focused’ creatives with digital creatives. Keep consuming digital media to keep up to date about technology and use whatever you learn to make your ideas more interesting and more effective. And ofcourse, invite me to do a talk every now and then ?

8.You have been producing music and were a globetrotting DJ before, at that time, did you think being listed on the annual “DJMAG TOP100 DJS “was a success for you? In the same logic. What all the international awards like Cannes Lion mean to you as a creative people?

I’m not sure if the DJMAG TOP100 DJS was around when I was a DJ. Cannes Lions – I think they are the Oscars of commercial creativity. They mean a lot to me since they are given out by the world’s very best creative minds. I think there is too many Award Shows in Advertising and only a few really count – like Cannes Lions, Webbys.

9.You have been the jury of Cannes Lion, The FWA, The ADCN and will be the jury of Webby Awards 2012, What are the differences between theses international awards? Especially for the criterion they hold.

I think Cannes Lions: highly original commercial creativity. The FWA: great design & interactive websites. ADCN: well crafted advertising. Webbys: Stuff that’s made with a lot of love and resonates with its audience well.

10.In China, people in Ad industry are taking much of time for studying and researching on successful ads & awarded cases, trying to find some rules or models as references. Is this kind of works should be encouraged? If the answer is no, what you think is the right way to study and enriching self-ability for creative people in ad industry?

Look at creative work and try to think what the briefing was and what you would have come up if that briefing would have landed on your desk – and how that’s different from the successful case. By doing this you’ll learn a lot.

11.Is there any ad works from greater China (TAIWAN, Hong Kong INCLUDED) impressed you much recently?
The Grand Prix in Cannes Lions Press for Samsonite – I loved that!

12.How much distance China’s digital creativity has when compared to the world? Anything want to share with china’s creative people?

I think the language / characters is difficult to the western world. And the fact that Chinese creatives tend to put a lot of layers in their work. I think to gain more Western success, it’s probably a good idea to go for Simple.

13.Where do you find your inspiration?
Everywhere and anywhere.

14.Given a chance, what you would choose to do as your career? Besides DJ/music producer and Interactive media.
What I do now ? I love my job!

15.Last but not least, do you have any further plan related with China? Thanks!
I loved doing talks in Beijing and Shanghai for Hylink and will be returning in 2012 for more sessions!