shots shoots Out of the Box

Following the success of 2023’s inaugural one-day conference on creativity and advertising, as well as 2024's trip over to LA for more of the same, shots hosted a second London-based Out of the Box event this Wednesday at the sumptuous Londoner Hotel in Leicester Square. 

Ahead of the evening’s shots Awards EMEA, a jam-packed audience enjoyed six stimulating sessions exploring the evolving advertising landscape; the day provided debate, inspiration and new insights into where the industry is headed. 

Above: shots' co-editors Jamie Madge and Danny Edwards introduce the day's sessions.

Sustainable Production in a Time of Crisis

As sustainability moves from a buzzword to a business imperative, the introductory talk of the day shared industry insights about integrating green practices into advertising production. The discussion, chaired by Emma Horton, Sustainability Director at XR, highlighted the balance between creative ambitions and environmental responsibility in an era of tightening budgets.

Annie Gibbons, Head of Sustainability at Dentsu, emphasised that sustainability is no longer optional: “It’s ingrained in our processes because clients expect it.” However, she noted variability across how it’s being adopted – with some clients treating it as a tick-box exercise, and others making it central to their campaigns and embracing genuine green practice. This requires marketing and procurement teams to align, and integrate the value chain holistically.

We can’t recycle our way out of this. - Jo Fenn

Clémentine Buren, Sustainable Producer/Manager at LA\PAC, pointed to a 2024 surge in sustainability action driven by new changes to Europe’s regulations on carbon measurement. Yet, she acknowledged persistent challenges, such as the “communication gap between agencies and production – different languages, so to speak.” She argued for treating sustainability roles with the same respect and pricing as more technical roles such as editing or art direction.

Above: XR's Emma Horton chairs an insightful panel on how to make sustainability a priority.

Anthony Falco, Global Director at Ad Net Zero, called for early-stage integration, stressing that sustainability should not feel like a creative limiter. “Instead of making changes on set, embed it at the script or creative brief stage.” By benchmarking emissions across projects, agencies and production companies can build in consistent carbon reduction strategies.

Jo Fenn, Global Director of AdGreen, underlined the importance of free education tools and collaboration: “Sustainability is about building an ecosystem where everyone understands their role.” With visibility, empathy, and proactive planning, the industry can balance bold creativity with meaningful environmental progress.

The key is to start somewhere – be intentional, take action, and create a culture of sustainability. - Clémentine Buren.

The overall take home message from the panel was to act urgently – with Fenn encouraging adland to get clear on how it’s measuring its carbon footprint: “We can’t recycle our way out of this. Consistently measuring across projects is critical to reduce carbon footprints systematically.”

The panellists agreed that industry-wide collaboration was required. From embedding green considerations at script stage to training freelancers, small changes can make a big difference. 

As Buren concluded: “The key is to start somewhere – be intentional, take action, and create a culture of sustainability.”

Above: AdGreen's Jo Fenn, "Sustainability is about building an ecosystem where everyone understands their role."

Amy Kean: Can You Nap Your Way to Better Ideas?

Dreams are the final frontier of creativity and an untapped well of inspiration, suggested Amy Kean, best-selling author, sociologist, advertising strategist and CEO of Good Shout, in her thought-provoking session. She explored the intersection of dreams, creativity, and the role of the subconscious in the art of advertising.

Paul McCartney’s ‘Yesterday’, Mary Shelley’s ‘Frankenstein’, and even the invention of the sewing machine were born from the dream world.

“Dreams are incredibly precious entities – so, why are we trying to pathologise them?” she asked, pointing to society’s discomfort with the uncontrollable and unpredictable nature of dreaming. With 56 per cent of people saying they don’t remember their dreams, this dismissal stems from the fear of the unknown. Yet, as Kean highlighted, dreams have historically unlocked groundbreaking ideas: Paul McCartney’s Yesterday, Mary Shelley’s Frankenstein, and even the invention of the sewing machine were born from the dream world.

Above: Amy Kean, "Dreams are incredibly precious entities – so, why are we trying to pathologise them?"

In an industry driven by a quest for originality, Kean argued that dreams remain a pure and unfiltered space for innovation, offering respite from the hyper-connected hustle culture. “We don’t need to dream less; we need to dream more,” she urged, advocating for the reclamation of imagination as a vital and non-commercialised space.

Let’s build an army of dreamers who aren’t checking Microsoft Teams every six minutes.

With eye masks allotted to every audience member, at one point Kean asked the crowd to close their eyes, look inward and daydream for a few minutes then jot down the wanderings of their minds. It was a surprisingly effecting moment of group meditation that highlighted the importance of nurturing the subconscious and “giving ourselves more time to think, imagine, daydream and understand ourselves better” to harness individual potential and unlock a new wave of creative originality. 

“Let’s build an army of dreamers who aren’t checking Microsoft Teams every six minutes,” she concluded. 

Above [L-R]: Eliot Liss, Anna Murray, James Brook Partridge, Jessica Ringshall, and Matt Craigie Atherton.

Agency Heads of Production: Ask Me Anything

The third session of the day featured a panel of top industry leaders exploring the evolving landscape of commercial production. Chaired by Eliot Liss, Head of Production, IPA, the panel comprised: Anna Murray, Chief Production Officer, Mother London; James Brook Partridge, Head of Production, Hogarth; Jessica Ringshall, Chief Production Officer, Saatchi & Saatchi UK; and Matt Craigie Atherton, Founder & Chief Production Officer, New Commercial Arts.

None of my clients are spending less than 50 per cent of their media budget on social media. - James Brook Partridge.

Debating some of the most pressing issues the sector faces today, the topics included the shifting media landscape and the growing dominance of social. James Brook Partridge highlighted the massive allocation of client budgets towards digital platforms, stating, "None of my clients are spending less than 50 per cent of their media budget on social media. The days of the TV spot being the centrepiece are over." This transition is forcing agencies and production companies to rethink their creative approaches, moving more into diverse media and integrated campaigns.

Above: Mother's Anna Murray, stressing the importance of diversifying skills.

Anna Murray echoed this sentiment, noting that the future of production lies in adaptability. "It’s not just directors who need to broaden their horizons, but production companies too, expanding the types of talent they have on their teams," she said. The panel stressed the importance of diversifying skills and the need for production companies to embrace new models, like working more directly with clients, without compromising on creative integrity.

I think the triple bidding process is outdated. - James Brook Partridge

However, the topic of the pitch process sparked debate. "I think the triple bidding process is outdated," said Brook Partridge, pointing out the inefficiencies in a system that often doesn’t reflect the true creative potential of a director. Jessica Ringshall emphasised the importance of transparency, suggesting that some pitches should be paid to reflect the work involved, while Murray advocated for a more flexible, fair approach.

As the panel continued, the conversation delved into the challenges of nurturing emerging talent and adapting to post-Covid work practices. Matt Craigie Atherton and Ringshall both highlighted the growing importance of producers being involved early in the creative process, particularly to manage budgets and timelines effectively.

In a world where the pace of change is relentless, these industry leaders are pushing for a more agile, collaborative approach to commercial production – one that embraces innovation while keeping creativity at the forefront.

Above: New Commercial Arts' Matt Craigie Atherton pushes for a more agile, collaborative approach to commercial production.

Mr Gammon.: The Monster Maker - Costume Design in Advertising and Beyond

The fourth session of the day was a lively presentation by award-winning costume designer Mr. Gammon, who delved into the critical role that costume design plays in shaping successful productions. Known for his remarkable career spanning celebrity rock star styling to creature creation, Mr. Gammon's work stands as a testament to the artistry and ingenuity behind every outfit.

I might do a campaign where a creature props up the campaign so I’ll have to create something bespoke and experimental for the brand.

"I’m Mr. Gammon, and this is a glimpse into my world," he began, giving the audience a taste of his journey from the Royal College of Art to iconic pop culture moments. Early in his career, he dressed stars such as Adam Ant and The Rolling Stones, but it wasn’t until he ventured into large-scale commercial productions that his talent for fabricating fantastical creatures and characters came to the fore.

“I might do a campaign where a creature props up the campaign so I’ll have to create something bespoke and experimental for the brand,” he said. 

Above: Mr. Gammon, "Every project teaches me something new."

His work spans from designing monsters for Ed Sheeran's promo for Eyes Closed to creating breakdancing teddy bears and directing Grace Jones for a Just Eat campaign, handling everything from fabrications to logistics. His knack for bringing characters to life extends to creating merchandise for campaigns that blur the line between fashion and fandom.

"The best costume design blends in," Mr. Gammon said. "The goal is to make it look effortless, as though you were never there."

It’s the art of problem-solving with creative flair, ensuring everything works harmoniously behind the scenes.

For Mr. Gammon, costume design is more than tailoring garments – it’s about breathing life into characters and supporting a vision. As he puts it, “It’s the art of problem-solving with creative flair, ensuring everything works harmoniously behind the scenes.”

No matter the scale of the project, his passion and enthusiasm is evident: “Every project teaches me something new.”

Above:Yannis Konstantinidis explains the innovative process behind animating ice, fire, and smoke.

NOMINT's Yannis Konstantinidis: How the F*ck Did He Do That?

The fifth session of the day saw NOMINT director and co-founder Yannis Konstantinidis pull back the curtain on his latest project for WWF in a candid chat, offering insight into the innovative process behind animating ice, fire, and smoke. 

Konstantinidis began by recalling the origins of the campaign, sharing that each year’s film has been an evolution of both his team’s skills and their collaboration with WWF. “This campaign is something I lead once a year. 

The key to our approach has been taking things one step at a time… it’s a slow, meticulous process.

We’ve now made four films over the past four years,” he said. "The key to our approach has been taking things one step at a time… it’s a slow, meticulous process, but that’s how we’ve been able to deliver films that stand out.”

The final in this remarkable quartet of animations for WWF, his latest film, In Hot Water, released just last week, is the culmination of years of experimentation and a unique process of applying cutting-edge thermal imaging photography to stop-motion.

Above: Konstantinidis' four films for the WWF.

Pushing the boundaries of animation, the film uses thermal cameras to show the invisible heat of the planet. “We started with a joke – what if we use thermal cameras to show climate change? But three months later, we found ourselves testing it out, and the idea became a reality,” Konstantinidis shared. The film’s haunting visuals highlight the urgency of climate change, portraying how even a slight increase in temperature will have devastating effects.

Animation, at its best, simplifies complex ideas and makes them accessible to a global audience.

For Konstantinidis, the craft of animation has always been about communicating convoluted ideas, making them emotionally resonant. "Animation, at its best, simplifies complex ideas and makes them accessible to a global audience," he said. "It’s the quality of the craft that makes people listen and take action."

By blending artistry with innovation, Konstantinidis and his team have created a series of films that not only capture the urgency of the climate crisis but also have elicited in audiences a deeper emotional connection to the cause.

Above: McCann London's Lynsey Atkin talks through her career to date, whilst shots' Jamie Madge points at nothing to make himself look cool and edgy despute not being able to tie his shoelaces.

In Conversation with Lynsey Atkin

Lynsey Atkin, recently-appointed Chief Creative Officer at McCann London, sat down with shots co-editor Jamie Madge for the final session of the day. Discussing her career, the creative process, and some of her most acclaimed work, including Channel 4’s idents and the iconic Super. Human. Paralympic campaign, she shared some of her career highlights and her thoughts on the industry.

“At its heart, advertising is an applied art, like architecture,” says Atkin, reflecting on her path from childhood artist to creative leader. After studying graphic design, Atkin found her footing in the industry quite serendipitously. “I didn’t even know there were creative roles in advertising until I got drunk with a friend at BBH and applied for a role on a whim,” she admits. 

We wanted to shift focus from ‘superhuman’ to ‘human’ and make the tone darker, more authentic.

But once she stepped into the world of advertising, her passion for design and storytelling melded seamlessly, particularly in her work on the multi award-winning Three Little Pigs campaign for The Guardian.

Atkin’s move into Channel 4’s in-house agency, 4Creative, brought new challenges, particularly with the Paralympic campaign, which needed to extend the success of 2016’s Meet The Superhumans spot. “We wanted to shift focus from ‘superhuman’ to ‘human’ and make the tone darker, more authentic,” she says. The project, which garnered praise for its fresh approach, was a testament to Atkin’s drive to evolve narratives and reflect societal change.

Now at McCann, Atkin is continuing her bold creative journey. “The scale of a big agency like McCann gives us more resources to create work with real impact,” she explains. As she leads McCann London, Atkin’s commitment to craft and innovative thinking ensures that iconic, risk-taking work will continue to shape the future of advertising.