Luke Scott on Trump, Storytelling and Opportunities in Advertising

In general, do you think 2018 has been a good year for creative advertising?

It must be happy hour somewhere... maybe more like an unprecedented period of unknown opportunity. 2018 is certainly good for self-reflexive and introspective conversation around the purpose/ethos/past/future of advertising.

"I would suggest that the Trump interface and the Brexit peddlers did a sterling job in harnessing the polarising power of advertising."

What piece or pieces of work have impressed you most over the last year?

Simple. Childish Gambino's This is America; Donald Glover’s remarkable statement of discontent. It is a plain-speaking monolith of remarkable socio-cultural significance that really made me pause and take a sharp breath. Also, the podcast Ear Hustle, about life in San Quentin Penitentiary. It's an insight into breathtaking human frailty and hope despite the awful burden of crime.

The Trump presidency in the US and the fallout from Brexit in the UK have dominated headlines this year; how, if at all, do you think those situations have impacted on the advertising industry?

I would suggest that the Trump interface and the Brexit peddlers did a sterling job in harnessing the polarising power of advertising. They both have a remarkable and effective grasp on the influence of media and how ideas can be sold to a public who never even knew they needed what was on sale. The advertising industry can certainly learn powerful lessons from the techniques deployed and the public can learn - if they choose to accept them - how ideas can be mis-sold.

This year you launched the Ridley Scott Creative Group and one of the company's aims is to create more branded entertainment work; do you think that area of the business is one which will continue to grow and, possible, be a dominant approach for brands?

Brand entertainment presents a spectrum of opportunity for brands who want to find a path into entertainment. With technology in pretty much seven billion folks’ hands 24/7 - every minute, second and parsec - it would be a missed opportunity for makers/creators/storytellers to not assist brands in discovering the stories they can tell an ever-hungry audience.

However, traditional/conventional advertising continues to have a powerful effect. Each day four billion IRL conversations start with, “Did you see ...?”  Brands need to show up in that IRL conversation. Ultimately, community is built around this question. If a brand can insert itself authentically into that conversation it becomes culturally resonant, like Nike's Nothing Beats a Londoner.

What are some of the pitfalls that brands looking to get into that area of advertising can fall into?

Not considering the opportunity... Controlling the conversation too forcefully... Misinterpreting relevance in culture... Know your audience through data... Risk adversity… Some of the best and most memorable advertising took risks. Benetton somehow got it mostly right through their print campaigns. I never bought a sweater but still recall some of the most polarising images. Brands must make sure they deploy the very best storytellers to harness and deliver their ideas to audiences.

Above: One of Benetton's controversial print campaigns shot by Oliviero Toscani in the 90s.

The changing landscape of the industry - within agencies, production companies and clients - continues to be at the forefront of production minds; how has that situation affected the directing profession, if at all? 

There’s been a democratising of storytelling like never before, so it feels like everyone is (or can be) a director. Some are good, some are better. Fortunately, high-end production is still very much a dark art: credit must be given to the indispensable producers, DPs, production managers, PAs, grips, gaffers, production designers, stylists, costume designers, editors, ADs, sound designers, caterers, camera crew, writers and ... oh yeah ... the performers. Without these folks a director is about as useful as the First World without electricity.

"Human memory is good for only three or four generations and then we turn, once again, to dark crimes and pogroms and immense human cruelty."

Diversity continues to be at the forefront of industry discussions this year; do you think the industry is doing enough to promote a diverse range of people within the business? What more could/ should it do?

The industry can do more, both within its hallways and with content it creates for myriad screens. I think more platforms are in order; the likes of AICP Commercial Directors Diversity Program, #FreeTheBid, the 3% Movement, etc. Education is a great tool to address diversity, but its current dynamic falls short. With more resources and focus, education has the power to level the playing field and grow a culture where diversity is the norm.     

What do you think the biggest talking points of 2019 might be?

Diversity, liberty, Trump, Brexit, Kylie Jenner becomes the first nearly $1 trillion individual.

"New Year’s resolutions, like birthdays, only serve to remind us how short life is."

What do you think advertising’s New Year’s resolution should be?

Don’t panic! Storytelling defines community, it makes us who we are.

What will be your own New Year’s resolution, work-related or otherwise?

New Year’s resolutions, like birthdays, only serve to remind us how short life is. Each day is a lifetime in itself; with this in mind, every moment is indisputably precious and beautiful. Consider that the resolution serves to correct some failing or shortfall. Human memory is good for only three or four generations and then we turn, once again, to dark crimes and pogroms and immense human cruelty. This year’s resolution for me - like the previous and the next - will be the same: Love more, as best I can.