EDITOR'S NOTE

By Published on .

Most Popular
The words masking Rick Boyko's face on our cover can be found tacked to the door of his office at O&M in New York. Boyko says that Bill Hamilton gave them to him. Who wrote them? "Bill says Hal Riney gave them to him, but I'm not sure who wrote them," Boyko answers. "I just attribute them to Riney." No matter. "They sort of summarize what it is to be a creative director," he adds, to which we can only nod in agreement, acknowledging not only the sensibililty of the creed itself but also the down-to-earth manner of the man who endorses it. Rick Boyko appears, if anything, to be a straight shooting kind of guy, and our decision to profile what he and his longtime colleague, Bill Hamilton, have done at O&M was an easy choice, given how much buzz we've been hearing about it lately. What we found was that, more and more, Boyko is getting his share of the credit for the apparent turnaround of this once troubled megashop.

Talk about turnarounds. A few years back people used to ask why the Brits did such better Levi's ads than we did. After all, we invented them. While BBH was creating contemporary American icons for Levi's, FCB/S.F. was showing us forgettable vignettes of hip-hopping kids or homoerotic scenes of buffed boys romping on the beach, rolling around what looked like a giant Dunkin Donuts bagel. At the same time, Chuck McBride was working his way up the ranks of shops like Team One and Goodby Silverstein. Now he's CD on Levi's, and his contributions have helped earn the agency honors as Ad Age's Agency of the Year for '96. Along the way, they've turned Levi's U.S. work into some of the coolest stuff we've seen in years, to which we say mazel tov.

This issue is also our annual focus report on visual effects, previously referred to as special effects, but given their ubiquitous presence in just about every genre of visual communication there's really nothing special about them anymore. Currently there are any number of approaches to doing effects spots, and we've tried to sort them out and take stock of their advantages and disadvantages. One thing they all share: a measure of risk. "I can't tell you how many white-knuckle effects shoots I've been on," says Digital Domain's VP-production Ed Ulbrich, a former agency producer at Leo Burnett. Great. Just what