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Oldschool Copywriting
Very nice: Ein fast einstündiger Video-Podcast von und mit Hamburger Porsche-Fan und Sportwagenhändler Benjamin David über die Porsche-Werbung der 90er – die ich als sehr junger Texter bei Jung von Matt drei Jahre lang machen durfte.
Und übrigens: Das war ich nicht alles alleine! Die Spitzenheadline „Unabhängig“ z.B. war von @ralf.zilligen, das „Familienauto“ von @jeanremymatt persönlich. Die fantastische Optik stammte von @denekevonweltzien, die wahnwitzigen Fotos von @uweduettmann.
Company: Benjamin David Finest Sportscars https://lnkd.in/e9AkiaAC
Producer: Ben Hartenstein https://lnkd.in/e-RJE668
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I did this illustration for @jungvonmatt last year. #electromobility #illustration #drawing #editorial #dailyillustration #art #illustratorshamburg #jungvonmatt #jvm #vehicleillustration https://www.instagram.com/p/B9PHnbRKCCg/?igshid=3dv4kycznl7j
#electromobility#illustration#drawing#editorial#dailyillustration#art#illustratorshamburg#jungvonmatt#jvm#vehicleillustration
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JOACHIM KORTLEPEL ON THE WORK HE’S PROUDEST OF
We often ask our jury to reflect on the work that they’re proudest of. This week, we feature Joachim Kortlepel, Executive Creative Director at Jung von Matt/AG in Hamburg – the agency behind the award-winning ‘For Seasons’ campaign.
Last year, Joachim Kortlepel was a judge at AD STARS 2020, where his agency scored big winning the Radio & Audio Grand Prix for ‘For Seasons’ – an ingenious campaign for NDR Elbphilhamornie Orchestra Hamburg that uses climate data to recompose the ‘Four Seasons’ by Vivaldi. This campaign also won Gold in the Data Insights category.
Is there a campaign you’re proudest of making, Joachim?
I’m proudest of projects that involved music in one way or another to solve a problem, to raise awareness or to create a meaningful impact. As a standalone project, most likely the global marketing campaign for the opening of the Elbphilharmonie in Hamburg back in 2017 was a once-in-a-lifetime effort. Because it does not happen all too often that you have a building only for music and art like this one, and a client’s construction delay crisis like the one we faced when we began to work.
As the leading creative I spent some 1.5 years solely dedicated to this project (the grand opening is pictured above). It was worth the effort and I can look at the Elbphilharmonie every day when I pass by it on my bike. That’s awesome and sort of a permanent reminder of my own work when you look at how it has become a concert house for truly everybody and how we managed to turn public opinion around.
From here, you created the ‘For Seasons’ campaign for the same client. Can you explain the concept and what were the biggest challenges in bringing this idea to life?
Climate change has become the biggest threat to life on earth. After numerous scientific reports, extensive media coverage and a whole generation having taken to the streets, we should have all got the message by now. Yet, it seems the magnitude of the crisis is so overwhelming, many prefer to ignore it. Our client, the NDR Elbphilharmonie Orchestra from Hamburg, a city predicted to be flooded by 2050, could not remain silent. We wanted to use the power of music to send an unmistakable signal against climate change that would finally get people to listen.
In order to make that happen, we took the most famous musical depiction of nature, Vivaldi’s Four Seasons and adapted it to today’s weather conditions using historical climate data. Vivaldi wrote the Four Seasons in 1723. His work was a revolution in musical composition: In each concerto, he portrayed the characteristics of the seasons and their natural phenomena like gentle winds, violent storms, frozen landscapes and even singing birds.
Can you explain how you used data to create this campaign?
We engaged a collaborative team of sound artists, software developers and music arrangers and converted the original Four Seasons into a new score: For Seasons. From temperature anomalies to CO2 emissions and to species extinctions, more than 10 data sets were comprised from the 18th century until the present day. The collected data was then fed into multiple custom-made algorithms which transformed what Vivaldi had expressed in his masterpiece into what we experience now.
For instance, the algorithms adjusted the duration of the seasons: today’s Winter is 51 bars shorter. Motifs of Summer already arrive in Spring. Vivaldi represented “Summer’s occasional thunderstorms” with flashing solo violins. The algorithms placed unexpected thunderstorm motifs throughout the entire piece according to the dramatic increase in natural catastrophes. The violin trills, mimicking bird sounds were reduced by 15%, signifying the decline in bird populations.
When did this campaign launch, and how was it received?
After months of work and rehearsals, For Seasons premiered at Elbphilharmonie Hamburg to a sold-out crowd and to 150,000 live viewers on Facebook. Led by world-renowned conductor Alan Gilbert, the philharmonic orchestra performed the altered concertos to a visibly shocked audience. The concert ended with a 7-minute standing ovation. Only two days after the concert, the United Nations reached out to us hoping to “work together to fight climate change”. For Seasons is now partnering with the United Nations Development Program and more concerts are being arranged, and the score is freely available to any orchestra in the world. In the end, we made climate change audible and people finally started to listen.
Was the client always on board, or was there a period of persuasion?
What turned out to be a great success, was in the beginning very difficult to explain to our client. Simply because we did not know what to expect - nor what to explain ;-) when you let data recompose a musical masterpiece. And as long as we did not know, it was extremely difficult for the musicians of the orchestra to get the project going, without knowing the outcome. What will it sound like? Will it be disturbing enough? Will it be a wake-up call? Are we happy if they applaud us or should they rather leave the concert somewhat scared?
These were the most difficult questions we faced. So, we put everthing to a test. We first took the Spring, altered the score with climate data, listened to it on the basis of computer-generated midi files and then went into the Elbphilharmonie and actually played the Spring and recorded everything. From there on we moved forward: step by step.
AD STARS first introduced the Data Insights category in 2018. To enter this category in the AD STARS 2021 Awards, visit adstars.org – the deadline is 15th May!
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I was asked to do an illustration for a postcard that was used to announce the UN climate conference held in Katowice, December 2018 - A commercial by Jung von Matt.
#cop24#illustration#pencildrawing#postcard#climatecontrol#unconference#kombinatrotweiss_illustration#orianafenwick#katowice#katowiceclimateconference#artistmamagement#illustrator#landscapedrawing#typographicillustration#jungvonmatt#pencilrealism
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Mercedes – Chicken
The unique unexpected approach: dancing chickens demonstrate "Magic Body Control", a highly effective stability system of Mercedes-Benz. Since chickens are able to keep their heads still no matter how their bodies move, they provide a perfect parallel to Magic Body Control. The music also complements by using the 80s disco hit "Upside Down” by Diana Ross. Its lyrics support the visuals and its rhythm let the hens show their dancing skills. The spot gathered over 11 million views on Youtube.
Advertising Agency: Jung von Matt, Germany
CD: Robert Herter, Lukasz Brzozowksi
AD / CW: Lucas Osis, Nico Baumann
Director: Daniel Warwick
DOP: Michael Schreitel
Editor: Marty Schenk
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Der coole und lustige Sternekoch Ralf Zacherl mal in SW Look. #people #sternekoch #ralfzacherl #cooking #photography #robertfreund #photograf #düsseldorf #luxury #luxurybrand #portrait #portraitphotography #advertising #grey #bbdo #moon #echtzeit #jungvonmatt #grossincome #sw #bw #face #nice #funny (hier: Düsseldorf, Germany)
#nice#photography#face#portrait#cooking#ralfzacherl#grey#photograf#bw#robertfreund#düsseldorf#echtzeit#moon#bbdo#grossincome#sw#jungvonmatt#funny#luxury#portraitphotography#people#luxurybrand#advertising#sternekoch
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TVC for the Nikon s3500, within the framework of the I AM campaign. Directed by Paul Hunter.
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#CONNECTIONSBERLIN is less than 1 week away! & Le Book is pleased to welcome Florian PANIER, the Head of Film & TV at JUNG VON MATT, as a jury member! Welcome, Florian! Before joining Jung von Matt, he was Executive Creative Producer at Serviceplan Group. In 2005 he started his career at JVM. To find inspiration in a constantly changing industry, Florian says, "Walk the world with eyes wide open because creativity fluctuates accordingly to sociology.” Register NOW at http://forms.lebook.com/connections/
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#fac2017 #hamburg #gang ##jungvonmatt #agencylife #sonsofjeanremy #blackandwhite#agenturensohn #fac #agency#advertising #jvm #advertisinglife#creativeagency #sonsofanarchy danke @_.t0b1 😎
#agenturensohn#sonsofanarchy#gang#fac2017#creativeagency#agencylife#blackandwhite#jvm#fac#advertisinglife#jungvonmatt#hamburg#agency#sonsofjeanremy#advertising
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https://www.norman-graeter.com/edeka-werbespot-eatkarus-die-zeit-alles-nur-kein-kugelmensch/ Meine Review zum Zeit Blog Beitrag "Edekas neuer Clip" @zeitonline #eatkarus #edeka #jungvonmatt #normangraeter
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5 MINUTES WITH... JOACHIM KORTLEPEL, AD STARS 2020 JURY
We are delighted to welcome Joachim Kortlepel, ECD at Jung von Matt in Hamburg, to our Final Jury. Don’t miss his interview with Little Black Book.
As a former journalist on Capitol Hill, Joachim Kortlepel wonders if we’ll all look back on fake news and Trump & Co as a flaw in the matrix. He also dislikes the rise of xenophobia and one-hit-wonder marketing campaigns, but is passionate about music, experiential marketing and Jung von Matt’s ‘magnetic’ culture, where he’s been since 2001.
As well as being ECD, he joined Jung von Matt Holding in 2017 as a creative service provider for around 15 Jung von Matt agencies globally.
Joachim has won over 200 awards including a Graphite Pencil at this year’s D&AD Awards and a Grand Prix/Green Pencil at One Show 2020 for ‘For Seasons’ – a campaign that cleverly recomposes Vivaldi’s Four Seasons using climate data to raise awareness of the consequences of climate change.
You began your career as a journalist. Why did you decide to be a reporter?
I was always extremely into politics. From early on. I believe this is connected to my country’s history and its role in world politics ever since World War II. I was always looking for answers with regard to all of what happened before and after WWII. So politics became my major at University and together with my deep love for writing, I kind of made my way straight to the European Commission in Washington D.C., where I worked as a legislative correspondent and political analyst. I was allowed to report on US foreign and domestic politics. Pretty amazing to witness Senators and Representatives of the House on a day-to-day basis on Capitol Hill to be honest.
But as time went on, I discovered that rather than writing about something and running after the facts (facts meant something in those days) it would be more challenging and somehow more fun to create something that others would be writing about. That is when I switched, got back to Germany and worked at BBDO with a focus on copywriting.
As a former journalist, what do you think of the ‘fake news’ phenomenon?
Quite honestly: it pisses me off. The other side is pure disbelief that Trump & Co. manage to keep this going for them: disregarding everything, putting criticism aside by simply calling it fake news. How could that happen? To a little lesser extent this applies also to decision makers in other countries, i.e. Russia, Poland or Hungary, just to name a few. But what happens in the US is still worse. It will be interesting to see how we will look back on this in a couple of years from now; or maybe even after the next US election in November. Is this something we will be referring to as a flaw in the Matrix?
Anyhow, all of this asks us to be even more in love with every detail of a story, to be even more precise and responsible and even more reliable, because mistakes and flaws in our facts and stories will only foster and nourish the ‘Trump-way-of-doing-politics’ (if you can call this politics at all). My hope is, in the end, facts will win over.
You joined Jung von Matt in 2001. What does it do differently?
I feel the culture is magnetic. There is such a strong drive for non-conformity, a desire to break the rules no matter what. We always want to be unexpected, we like to surprise people and add some humour to our stories. Our campaigns entertain. And what I do like very much about our spirit: “No” is not an answer, whatever the obstacles are in bringing campaigns on air, creativity will find an answer. Together we can do everything. And if we fail to reach our goals, we come back stronger.
Wherever and whomever I did meet in the past: I never saw this creative spirit or experienced anything close to it again. So maybe they – as we say in Germany – will have to carry me out of the building because I will die here one day at my desk ;-)
In 2001, you set up Jung von Matt/relations – why did you become so interested in experiential marketing and ‘brand experiences’?
To me, experiental marketing is one of the most authentic ways to communicate. Brand experiences (specifically the combination of digital & non-digital) create highly emotional reactions. The way I see it, making brands tangible is one of the greatest challenges in marketing and creates some of the most emotional and credible ways to communicate with customers: everything is real. No editing, no post-production and no ‘let us do it all over again’. It is live. And you know what is really great about this? If you do your utmost to create something amazing and emotional, people will not only highly value the experience itself but also the amount of work you put in only to please them. That is a win-win scenario on all accounts.
You believe ‘creativity can solve every problem in the world’ and there are lots of problems to be solved this year in particular. Have there been any innovations in Germany in response to the coronavirus or Black Lives Matter movement?
In Germany, they managed to bring about a mobile app that every German can download. It tracks your way and if you got in contact with somebody infected, it is much easier to trace. And it is even in accordance with privacy rules, which are pretty tight in Germany.
As for Black Lives Matter: it is a global movement that is a long time overdue. And although racism seems to be a larger problem in the US, we too in Germany must be very aware of it. Not only because of our history, but also since we have our own problems to solve, racism being one of them but another big one is xenophobia. We still need to do everything we can to stand against this. In politics, in society and in advertising.
I am somewhat fed up with those one-hit wonder marketing and advertising stunts: I believe we need to engage something truly more profound and impactful. And yes, creativity can solve this! But first we need to address the problem and ask the right questions.
Do you have a creative process: how do you approach a new brief?
Everything begins with a white and empty sheet of paper. From then on it is the permanent search and the discarding of possibilities. Always and always further. I don't think that we are very different from others. It's hard work and we don't have that one elaborate process, except that we create the best possible framework so that creatives can fully focus on the task at hand.
Everything at Jung von Matt is designed to allow creative people to be as creative as possible. Then it takes a little luck and every now and then courageous clients. Because one thing is clear: just like in a Formula 1 race, to get to the top you have to leave the racing line and move to the battle line. Only then can you overtake. And to do that, you sometimes have to do the unexpected, surprise everyone and challenge the status quo. Equipped with these guiding principles, the goal is clear and the way is clear for all to see. For me it is living the breaking-of-rules. Non-conformity to the extreme.
What is your proudest achievement, professionally or personally?
Personally, it is a short answer: My three kids ;-)
Professionally, projects that involved music in one way or the other to solve a problem, to raise awareness or to create a meaningful impact.
As a standalone project, most likely the global marketing campaign for the opening of the Elbphilharmonie in Hamburg back in 2017. That has been a once-in-a-lifetime effort. Because it does not happen all too often that you have a building only for music and art like this one, and a client’s construction delay crisis like the one we faced when we began to work.
As the leading creative I spent some 1.5 years solely dedicated to this project. It was worth the effort and I can look at the Elbphilharmonie every day when I pass by it on my bike. That’s awesome and sort of a permanent reminder of my own work when you look at how it has become a concert house for truly everybody and how we managed to turn public opinion around.
Are you working on anything interesting right now?
Yes, and it involves music. A truly global effort demonstrating yet again the power of music and creativity. What is remarkable is that we are cooperating between agencies and I am extremely happy to work with AKQA Australia on this. Public announcements are to follow sometime in the fall of 2020 and I can’t wait to tell more.
You’re joining AD STARS as a Final Judge this year. What are you most looking forward to?
Well, it is a great honour to be selected as a final judge for the AD STARS festival and I am so curious to see all the work.
What city are you based in, and how does it inspire you?
Hamburg. The city is located at the river Elbe not too far away from North Sea. Water almost surrounds the entire city, it is everywhere and the power of it is to be felt in every corner. The liquid force is something that I seek to achieve with ideas, too. Creating unstoppable power such as the strength that water can develop. And as for the tides, nothing stays still, it is a constant flow, day by day as it is with ideas. That asks for humbleness.
* Joachim Kortlepel is joining AD STARS 2020 to judge Brand Experience & Activation, Creative eCommerce, Direct, Media, PR. This interview was originally published in Little Black Book.
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Workshopday done 💪🏼. Thanks @jungvonmatt for having us! with @ninahussel . . . #workshoptime #workshopday #workshop #letsdoit #workworkwork #workmodeon #letswork #workit #socialmedia #projectmanagement #travellife #workandshop #trynewthings #socialmediamarketing #socialmediatips #lifeofaprojectmanager #livingthefreelancelife #freelancer #freelancing #freelancelife #pmlife #freelanceprojectmanagement #freelanceproject #agencylife #agency #jungvonmatt #jvm #agenturleben #doitforyou #workinghardforwhatiwant (hier: Jung von Matt)
#workshopday#agency#freelancelife#letswork#workmodeon#agenturleben#workshoptime#travellife#workinghardforwhatiwant#socialmediatips#letsdoit#workandshop#freelanceproject#socialmedia#freelancing#livingthefreelancelife#lifeofaprojectmanager#pmlife#freelanceprojectmanagement#socialmediamarketing#workworkwork#workshop#jungvonmatt#freelancer#agencylife#jvm#projectmanagement#trynewthings#doitforyou#workit
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💸Money shot💸 By @jungvonmatt | Via @the.pinklemonade
POP MY EYES, instagram.com
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Vodafone campaign #vodafone #jvm #tallinn #estland #passion #photography #cecilarpphotography @jungvonmatt
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TVC for Noah, an organization for wildlife preservation. Directed by Silvio Helbig, produced by Neue Sentimental Film Berlin.
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