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We got a postcard back in March from a copywriter in Philadelphia named Peter Van Bloem. Now freelancing in New York, Peter wrote to politely complain about the spread of nifty print ads we ran that month, all of which contained striking illustrations. It included a beautiful Martell ad from O&M/Singapore that had been written by Neil French, and Pete was peeved that we didn't run it large enough for him to read French's bon mots.

Well, sorry Pete, but we're about to do it to you again. This month's cover story on long-copy ads contains a few stirring examples of the technique of long copy that, sad to say, no one will probably be able to read because we had to run them too small, edit space being at a premium here at Creativity thanks to a niggardly publisher. We ran them small because the story is more about the state of long copy these days, and was never intended to serve as a showcase of glorious long-copy gems from the past and present. Those you can find in awards show annuals. What we're addressing here is whether long-copy ads really are obsolete, as writer Phil Hanft claims, or whether, as David Fowler says, they still do make sense in this era of wordy bestsellers like "The Bridges of Madison County" and exhaustive journals like USA Today. Opinion on this seems mixed, as our story reveals-a lot of copywriters still like them, although they're not sure anybody's reading them. Speaking of which, anyone interested in perusing the 5,000 word ad for photographer Fred Vanderpoel that accompanies this piece (as you can see on page 18, a loupe won't help here) can write to me at the address hidden in our masthead below and I'll be happy to send them a full-sized photocopy. But please, no phone calls. We'll do this the old-fashioned way-cards and letters only.

This being that time of the year when we take a closer look at the postproduction side of the commercialsmaking equation, we've surveyed a few top post houses to gauge their involvement in new media. As expected, we weren't disappointed. Seems postproduction companies, not to be outdone by their production house colleagues, have thrown themselves into the interactive/multimedia gold rush with the same abandon. Makes sense, I guess-they have the tools, the resources and the talent to be players, for sure. Question is, do they have the clients? Somehow, the image of all these companies out there rushing around trying to find partners in new media projects brings to mind "Tin Men," Barry Levinson's film aluminum siding salesmen.

Finally, this month we visit with Tony Seiniger, the ad man who's more at home at Hollywood and Vine then he could ever be on Madison Avenue. His specialty shop, long a force in movie marketing, is trying to segue into a broader entertainment, leisure and sports marketing role. While this stretch isn't along the lines of Stallone's efforts to do comedy-remember "Stop or My Mom Will

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