カテゴリ:Chapter 2( 6 )
An advertising path - summer(6)
e0143906_15584482.jpg
August, 2002
e0143906_155928100.jpg
August, 2002
[PR]
by tetsuya_endo | 2008-03-18 16:10 | Chapter 2
An advertising path - summer(5)
Then, before turning 28 then, I already achieved success in a sales promotion for HONDA in its house production, TOKYO GRAPHIC DESIGNERS. Thousands of snow blowers were sold out through a successful campaign, which I pursued as the chief copywriter, even before formal distribution. Also, collaborating with American copywriters as well as Japanese creative personnel, I made lots of ad concepts and copies for both global and domestic sales promotion of the general-purpose products of HONDA. I was in the swing of things, and, at the same time, was certainly in the 'Bubble.' I was so absorbed in a dreaming world of advertising that I even couldn't notice what was actually changing around me. But before I knew it, every town of Japan converted into like a Seven-eleven's convenient residence; meanwhile, my writing poems and taking pictures had completely replaced by the activities of creating advertisements.
It was at the end of '80s, and people in Japan were believing that their economy never decline as long as heading for higher quality goods. They were intoxicated with brand names so apparent statuses. I, too, didn't doubt that not so later I could get a brand-new PORCHE or FERRARI. Almost everyday, our team worked until after the last trains and then either drunk in a pub nearby or got home by taxi, by the early morning. Since I had convinced my great contribution for the 300-million-yen campaigns and was aware that I am an unusual ideas man focusing on problems and the objective quickly, when negotiating the next 1-year-contract I requested at least 6-million-yen for my annual salary. However, they merely offered either 5-million-yen for a 1-year-contract or a permanent contract until I reach 60 with much lower salary. The HONDA-related companies have every now and then the most innovative operations in Japan; nonetheless, TOKYO GRAPHIC DESIGNERS, where the creativity is the bottom line, couldn't come off the stagnant Japanese seniority system. Now, however, I can understand why so; if they hadn't hammered down the nails that stuck up, they wouldn't have been able to sustain ties with other institutes of Japanese society.
The marketing of HONDA required us, ad creators, a certain style: the head copies usually have to be a 'massive form' in order for sales personnel as well as consumers to easily repeat. Back then, thinking of that HONDA had already become an American company and that we were using simple words translatable, Japanese language might have gradually been decreasing its efficiency on Japanese people. The more immersed in illusions of advertising, the less I became interested in pursuing the truth; because having designers and photographers to illustrate the concepts for advertisements enabled to establish another worlds in media. However, I still wanted to write a line like in a novel, which is rather 'long and lyric' than the descriptions requested by HONDA, with more a wide variety of clients and merchandises. After all, I was and am me, nothing else.
Hearing of my supervisors saying, "Endo-kun, you shall be with the general-purpose products of HONDA your whole life time!", I instantly and vividly foresaw my dreary future life: just the same as my elder colleagues were doing, I would only sustain one wife and child with a tight apartment on the far outskirts of Tokyo. That is all. At this point, since I had nothing to learn from my supervisor to improve not only my copy-writing but also planning ad strategies and stratagems, I didn't make another contract with the company so that endeavoured to my another step.
I was 28 and it was 1990. Having become freelance, however, I had to realise that when applying to the better ad companies they always refused even to see me, due to my frequent change of companies.
e0143906_764848.jpg
August, 2002
e0143906_77341.jpg
August, 2002
e0143906_772317.jpg
August, 2002
e0143906_14204521.jpg
August, 2002
e0143906_14205824.jpg
August, 2002
[PR]
by tetsuya_endo | 2008-03-17 07:18 | Chapter 2
An advertising path - summer(4)
e0143906_82311.jpg
July, 2002
e0143906_824448.jpg
July, 2002
e0143906_1553499.jpg
July, 2002
[PR]
by tetsuya_endo | 2008-03-16 08:13 | Chapter 2
An advertising path - summer(3)
I was sure, in the situation of no trustworthy standard, everything we think visible was consist of illusions. I didn't know the world at all somehow. Avoiding an ordinary family life, only I could rely on was the things I could touch and hold. Instead of having spiritual relationships, I confirmed my existence in night girls' bodies. Actually, a pleasure of pussy's pressure was the truth in the illusional society. Reality is always unclear and can't be grasped, but as soon as replaced into words it appears with clear edges. However, the words do not necessarily convey the true matter. This is particularly evident in the advertising world. However, I found that the great thing involved in making ad is to become positive to our life. For no one wants to become unhappy with products or services with which ad creators are working.
Luckily, soon after moving to Tokyo, I got an apprentice position for copy-writing with a famous large ad production, NIPPON DESIGN CENTRE, which produced a lot of famous OB not only in the advertising area but also in art area such as Tadanori Yokoo. With a creative director I learned the basics of copy-writing in sales promotion tools of TOYOTA, though I couldn't sustain my life with my cheap salary with little job. As a matter of fact, I was borrowing over 1-million-yen from my mother for eking a living. Even though I wanted to do more job, it was impossible under the old apprenticeship of NIPPON DESIGN CENTRE. So, I move to a middle sized ad production for an agency, DAIICHI KIKAKU. I could buy a brand-new ROVER MINI E with my jumped salary. Those companies have disappeared after the bust of 'Bubble Economy of Japan,' though.
The work there was a chaos, however. My group leader, a graphic designer and had children with wife, was involved in a love affair with his assistant designer. Working until late at night, sometimes around the clock, they smelled, behaved, and talked similarly. It was not until I was seduced by her after drinking that a male colleague copywriter revealed the matter. At the same time, he implied he also had a relationship with her. That is something more, amazingly, he even described our company's reception girl's peculiarity of sex just from his experience. Even though I began to show my ability in a variety of merchandise and medium, this disgusting atmosphere induced me to change my work soon.
e0143906_6491885.jpg
July, 2002
e0143906_6493396.jpg
July, 2002
e0143906_6494975.jpg
July, 2002
e0143906_650654.jpg
July, 2002
e0143906_650212.jpg
July, 2002
[PR]
by tetsuya_endo | 2008-03-15 06:58 | Chapter 2
An advertising path - summer(2)
e0143906_1543141.jpg
June, 2002
e0143906_15445640.jpg
June, 2002
e0143906_17253131.jpg
July, 2002
[PR]
by tetsuya_endo | 2008-03-14 17:35 | Chapter 2
An advertising path - summer(1)
Powerfully impressed by the combinations of words and visuals by a Japanese copywriter, Takashi Nakahata, I decided to skill up my copy-writing ability. After graduating from university, I started working in a small design office in Hamamatsu. Writing and taking photographs for a magazine involved with much of advertising. Since then, my late 20s was like a hot summer for just active in making advertisements. Although I didn't resign myself to pursue my own works, I just felt that I can achieve even art-level works on advertisements. Mine was still childish at that time, though I was confident with my talent. Indeed, I had no doubt in my success and believed in the possibility of Japanese language. That was the age; there was a lot of room to sell products especially in Japan, and with abundant budgets every ad creators could try innovative expressions.
Since my job in the first design office was rather a reporter than a copywriter, I moved to Tokyo seeking for a work, where I can write copies for advertisements, before reaching 26. When I greeted to a previous client, he said that if I rebuilt my career in Tokyo I wouldn't be able to get married until 30. Although getting a stable position and supportable salary for a family in the advertising industry in Tokyo was such a difficulty, my interest was only to make outstanding ad works. Fortunately or unfortunately, I had not yet been involved in romantic relationships. I might have been too selfish, but I believed and still believe my work can fulfill and move my possible partner.
Just the day before my 26th birth day, my grandmother died of old age. She was my last grandparent, and used to be a great supporter of my grandfather who was a traditional engraver. They didn't told a lot, though, through their attitude to me, I could tell what is wrong and what is right by a Japanese tradition. However, that norm has been eroded by the name of ’individualism’ gradually.
e0143906_714173.jpg
June, 2002
e0143906_7142098.jpg
June, 2002
e0143906_7143943.jpg
June, 2002
e0143906_7232827.jpg
July, 2002
e0143906_723547.jpg
July, 2002
[PR]
by tetsuya_endo | 2008-03-13 07:29 | Chapter 2
prepage
nextpage

■Tetsuya Endo Profile
Born in Shizuoka-prefecture, Japan, 1961. BA, Seikei University (Major: Cultural Science) in 1985.
As a copywriter (creative director) in the Japanese advertising industry for over 15 years, I have never been satisfied with and by compelling myself and others to sell and buy goods. Thus, I left Japan or its materialism for apparently nature-co-existing Canada, where as photographer finding that I can't be a Japanese without Asian background prompted me to settle in the Philippines. While challenging a new business by the slogan "Economy & Ecology, ECOH!," I have been looking for a publisher for this "Transition Japan" and also "A Man Goes to North."
1961年、静岡県生まれ。成蹊大学文学部文化学科卒。日本デザインセンター、東京グラフィックデザイナーズをはじめ広告企画制作業界でコピーライター、後クリエーティブディレクターとして15年以上務めるも、売れども売れども、買えども買えども満たされず。カメラを手にカナダ横断を往復するドライブで「アジアの日本人」でありそれ以外何者でもないアイデンティティを悟るとフィリピンに移住。"Economy & Ecology, ECOH!"をスローガンに新しいビジネスに挑戦しながら、この「Transition Japan」及び「A Man Goes to North」を上梓できる出版社を探している。

Contact:
tetsu95jp@yahoo.co.jp
cell: +63.928.707.2843

No part of this publication may be reproduced for use in any form, without prior written permission of Tetsuya Endo.
掲載画像・文章の無断使用は禁じています。全コンテンツの著作権・版権はTetsuya Endoが有しています。