Creativity caught up with Borchert in his second week at Mother.
Why did you decide to make the switch from R/GA and to Mother specifically?
I was at R/GA for four years. I kind of wanted to do something different, something integrated at, not a traditional agency, because I wouldn't call Mother a traditional agency, but at another place that's about generating big ideas. I feel like there are no boundaries in terms of what you can do here. I knew of Mother in London and I knew they were in New York and of course I knew of Paul and Linus. I felt like if I ever did leave R/GA, Mother would be the place to go.
How did your background in design lead you here?
I worked at small graphic design shops in Brazil and then went to a dotcom and went into web design. I studied graphic design and I loved design. And I've always liked advertising but it would bother me to see great ideas and then see the design lacking. It feels like if you look at the design world and graphic design you see amazing work and everything—design, graphics print, typography – is beautiful. Then you look at advertising and it doesn't look bad but it doesn't have that same level of design. Coming from a graphic design background I think that if you have a great idea there's no reason advertising can't look that great. It's why I was excited about Mother. With the people they have coming from that graphic design world and very strong attention to detail, typography, etc. It makes it really interesting. Since I was interested in advertising in Brazil—in Rio— I started to feel that there were only a couple of agencies there and I'm going to have to go to Sao Paulo or somewhere else. I decided to come to New York. R/GA was great place to be because it had the high quality design. It was almost like a design agency and an ad agency and an interactive agency. Working on Nike was great because we weren't doing web sites we were building ideas and experiences. With Mother there's so much to do that's unexpected, you can tell any story you want. It's exciting coming to a place that has this energy already.
As an aside, why does Brazil have such a track record for producing great interactively-minded creatives?
I'm asked that question a lot and I don't know. But one thing I think is that in Brazil there are a lot of limitations that we learn to creatively go around. In the interactive medium it's learn as you go – not because they don't have knowledge but because the field is changing so much and so fast. And budgets aren't big so you learn to go around and it become easier. There's also a Brazilian thing where we can always figure out another way to do something –there's always a another way. It's called the Brazilian Way. Most of the time it's a good thing.