Bahasa version...

I'm sorry i didn't support my last post (David Droga) with Indonesian subtitle 'cause the article is too long.. hehehehe.. But I'm sure you all speak English, right!?

Maap, gw gak masukin versi Indonesia buat artikel David Droga. Soalnya wawancaranya panjang banget.. males... Tapi, tetep pada ngerti kan? Hahahaha... Kalo ga ngerti kira-kira aja sendiri... wakakakakakak....

David Droga

Suddenly, i feel like reviewing David Droga. He's one of my hero. He's the one who inspire me to work harder. You do know him, right? He became a cretive director when he was 21 years old! Damn, i'm 22 and i'm still in college!!


David Droga is the first ever Worldwide Creative Director for Publicis Worldwide. Droga, who has had an exceptional international career, has won more awards than any other creative director including 42 Cannes Lions, 23 One Show Pencils and seven D&ADs. In addition, he was named "World's Top Creative Director" by Ad Age in 2002 and named one of the most influential people in Europe under the age of 40 by Media Magazine in 2001. Under his leadership as executive creative director at Saatchi & Saatchi London, that agency was named "Global Agency of the Year" at the Cannes International Advertising Festival 2002. Droga, 37, is currently creating a joint venture with Publicis Groupe called Drogafive. The "brand ideas and entertainment laboratory" will open this year in New York and Los Angeles.

And next, i found an interview with Droga by Ihaveanidea.com in April 2005. I hope Droga could inspire you as he inspire me...

Enjoy!


How the hell did you become a creative director at 21?
Luck.
Circumstances.
I think ignorance and naivety go a long way. I had no idea about the industry, the structure of the industry, the timeline of what you should be doing, what titles meant or anything like that.

I was quite wide-eyed when I entered the industry. I was 18, and I had just finished an advertising school in Australia, which was sort of the main ad school in Australia and which is run by the ad industry. I was lucky to be a top student, so I got a job right away in some big boring multinational.

After only a few months in that boring big multinational I knew what I clearly didn’t want to do. And by chance there was some big creative in Australia who was setting up an agency and he asked if I wanted to join, and I did, so I was the first employee. Essentially there were 4 people in this agency. They didn’t even have a desk or anything like that, and again they were relatively young as well, 27, 28. So none of us had any agenda or cared too much about money.

It had to do with the right timing. How ideas just seemed to resonate with anybody. Suddenly it became the ‘it’ agency in Australia, and this was sort of the late 80’s. It sort of boomed.

I grew up with the agency very quickly. Suddenly we went from a four man shop to a fifty man shop. One of the partners decided to leave advertising. When he left, I was almost writing everything so they asked me if I wanted to be the creative director and they offered me a partnership in the agency. So by the will of the agency I found myself at 21 being the creative director. I didn’t know what I inherited, I just thought, wow, that’s an interesting title. We were quite removed from the industry then, we were sort of the whipper snapper. But our work was not only the most awarded, it was also the most talked about.

So that’s how I became a creative director.



Did you mess up a lot? Because from the sounds of it, you smoothly went into fame. Those three years from 18 to 21, when one is most scared and insecure, must have been filled with messups right?
I never thought I was more talented than anyone else, but I made a conscious decision to work harder than anyone else. I decided to do whatever it took to get the best ideas out. I slept in the agency two nights a week. My social life was rubbish.



How is it now?
It’s a different type of rubbish.

This industry isn’t ruled by timelines. It’s not like law firms when you know you have to put 10 years here, 15 years there. You are only as good as everyone says. You all stare at the same white page. From the biggest to the smallest names in the industry. I decided to work as hard as I could to leapfrog past the bullshit and awkwardness of some of the stuff we do in our industry. I wasn’t at all preoccupied by money. At that time I was very successful in Australia and I had lots of offers to go to other places for muuuch much more money, but I knew that if I did that it would go in a different avenue that I didn’t want to go.

So I just said, do the work, do the work. And I was learning all the way along. That ignorance and naivety probably allowed me to present and say things in meetings that other people would have been too sensible to do.

I stayed there for a while, but it got to a point where we were taking ourselves too seriously, and of course the partners were now married with kids and they were now sitting down to think about their mortgages and stuff, which is o.k. since it’s part of life, but I was still a young, angry, restless guy. I didn’t like the idea of having responsibilities and when I felt the agency was going mainstream I decided to leave. BBDO bought the agency, I gave up my share and got out.


Then you joined Saatchi right?
Yeah, in Asia.
I wasn’t tied and Asia is an exciting place. The likes of the Neil Frenches had put a spotlight on that.



Was Neil a big mentor for you?
Yes and no. I have a huge respect for Neil, but I have never worked with him. He proved geography didn’t matter. You could take a country like Singapore and create waves globally.

This was a very interesting thing for me since it wasn’t about money or population, it was about ideas. I was there for two and a half years, and that was like five or six years anywhere else. It’s a workload that is very rapid and very global. My creative department was like the U.N. Everyone was aware of everything around the world. That was very good for me because I was out of my comfort zone. I like leaving that comfort zone and building a creative culture. From a great creative culture comes great work.



So tell me, we all know about Saatchi's culture, its origins and history. But what about Publicis? What does it stand for?
Clearly you gotta look at the beginnings of it. It’s very European. It started in this very small and iconic shop in France. It had a lot of business success. It bought out all the major players and suddenly it also realized it had to stamp out its creative authority. They are very honest about what they had and what they are lacking.

To me, one of the reasons why I took the job, (while everyone tells me ‘you are crazy’, which actually makes me want to do it even more), is that the natural thing for me, after Saatchi was to do a start-up. And that’s exciting on one level. But taking a huge operation and make it feel like a startup is a great challenge. Fundamentally an agency, no matter how big, is really a collection of people. You have 20 right people in the network and you can change it. It’s about picking the right people in the structure and having an honest mandate from the top. Instead of starting from scratch.



You’ve been a CD for a long time. Has the actual function and role of a creative director changed over the past years?
I think so, well what’s interesting for me from being a writer to a creative director was that I am the most selfish person in the world. I couldn’t work with an art director, I had to do the idea myself. I was very closed about that. The surprise was, when I became a creative director, was that I got off just as much, if not more, from my creatives having great ideas. I could feel my personality in their ads, but I didn’t have to write it for them.

Gone are the days when the CD was this intimidating force at the end of the room with a closed door that says yes or no. It’s as much as setting a benchmark of what work is good enough and setting a mandate for the agency. It’s about the spirit of the place. I also think a lot of CD’s are torn between the ‘I want to be a creative director’ and the “but I also want to do a lot of the glory pieces myself.” It’s crazy. I knew when I lived in Singapore and London that the more successful people there were in my department, as opposed to one or two start teams, the better. If everyone is getting better, it will reflect on you. I wasn’t worried thinking my name has to be in what this or that writer is doing.

For me, the best CD’s are the ones who don’t hijack a creative department and let it be just that, a ‘creative department’.



So you are in the hall of fame. What happens when they put you in the hall of fame. Do you have to embed your hands on a star in the floor or something?
It’s another burden. It’s wonderful to get recognition for things. I get nervous every time there’s too many accolades. I am very appreciate of getting respect and recognition. But at the same time, I also beat myself up over it. When I went to Singapore my mission was simple, to piss off Saatchi London. Which we did, so they hired me to run Saatchi London.

When I went into London, what happened, which was very interesting, was that I was one of the first foreign creative directors. The reception I got was a very cynical cold one.

Who the hell is this 29 year old Australian from Singapore.

What the fuck is he doing coming into our market.

So that made me think, “O.K. Put your head down and do the job. Prove that a foreigner can do the job.”

Now coming to my new job, which is a global job, the same thing happens. The American press has been very very good in welcoming me with open arms. Which is almost the opposite, which of course, creates exactly the same result, since there has been so much goodwill and faith that ‘oh no’ I know have to deliver the results as well.



How come you are part of the VCU Adcenter board?
I am a product of an advertising school myself. So I really like them. I think there are way too many ad schools and way too many award shows, so when the right one comes along, that has integrity and has a mission that’s more than pumping students out, it really intrigues me. I have a lot of respect for Rick Boyko. He didn’t need to do this, he’s really trying to build something substantial. I want to be part of that.

There’s some selfish reasons cause I want to be in the loop of where the best young talent is coming in. There’s also something incredibly refreshing about trying to be involved with the people coming in. You cannot have a mountain peak without the base of the mountain.

I am trying to take the industry somewhere good, but there’s people who’s name I don’t even know who will take their turn in redefining the industry.



So what’s the story with Australia. I always think of them as the ones who do the edgy crazy stuff. I have however read that you side with the fact that Australians produce great work, but Australia not so much.
I am probably one of the proudest Australians you’ll meet but I am also very Australian because I say what I think. We have some great people, but it’s wrestling with an attitude about (a) it’s not too interested that much in what’s happening elsewhere (b) Australia is a very relaxed country.

Why does London produce the best bands in the world and all time?

It’s raining all day and people go to their basements to produce beautiful music.

Given the choice, in Australia between sitting by the harbour and having a three hour lunch and spending your weekend working at the office, what are you going to do?

Who’s the schmuck? No one. It’s a choice you make.



How about India? They are making headlines, and an Indian is the chief judge at Cannes this year.
India is open minded and cosmopolitan. I think they are looking at the rest of the world thinking “hey I can do that”. I have a worldwide creative board and one of the stars in the board is the woman running our India office. They are such a genuine energy. There is creative hunger, but it doesn’t have the cynicism of the other markets.



It doesn’t seem like they are following anyone.
They have a very unique culture to tap into. There are certain things you must do compete in global shows and I am sure they fall into some formulas but its culture is so rich and diverse that there’s a lot of great stuff nonetheless.

I am very lucky to have been given the opportunity to experience different markets. There are more similarities than there are differences. We’re all basic humans moved by the same things.



You have won everything there is to be won, so tell me. Is there an ideal time frame from brief to final delivery that a gold, award-winning ad needs to be in. Could it be possible that if your idea is taking too x time too long to produce it will start to get mushy and grey?
Not really. If you spend too much time you over think it. But I don’t think there is a benchmark of time.



What about that Monster.com stuff you made, or the Army ads you made?
Some of the edgiest stuff I’ve been involved with was the easiest thing I ever solved. It’s the ones that are built upon bullshit or generic stuff that is hard. If you can have a rational and honest conversation with the clients about the product, then the execution is the easiest part.

I have found that the ideas that I’ve loved the most have been the easiest to sell.



You talk a lot about honest advertising and having brands that have a point of view. But that seems to be something that the Chief Creative Officer will deal with, not us the creatives.
That’s what the CD is there for. They have to go beyond ‘that’s a funny spot’. I’ve blown down so many ideas that I know are funny, but which I know are disposable.

The conversations I always have with the creative teams are ‘what does the brand stand for?’, ‘what is its point of view?’ There’s nothing more moving than reality, but reality doesn’t mean slice of life.

I always make my creatives present thoughts, not scripts. They present conversation starters. We don’t ‘open on’ anything. Don’t waste your time crafting something that won’t go anywhere. Let’s first talk about direction.

It’s weird cause it’s sounding I have this massive wisdom, but I don’t. I don’t have formulas or anything.



How do you keep up? What fuels you these days?
I believe in what I do. What inspires is playing with emotions. I am the youngest of 5 boys so I am massively competitive. Maybe that’s my fuel.



So how do you offset it?
I am into Yoga now.

Stop Child Sexual Abuse PSA

Stop Child Sexual Abuse PSA
Agency: FCB Indonesia

The copy said: "Stop children sexual exploitation!". I think it's a good ad. Fresh, outstanding visual, and striking. But, somehow, i dont think if this ad could change their target's behavior. I think, maybe, the ad is just about to strike, presenting a horrible main visual, and thats all... If i'm one of their target, i would only think, "wow, i should have one like this...". Hahahaha... But i'm just a kid, i could be wrong... So, comments please!

Copy-nya ngomong: "Stop eksploitasi seks pada anak". Menurut gw iklan ini bagus. Fresh, idenya bikin kuda-kudaan bentuk anak itu bikin visualnya outstand. Bagus lah pokoknya. Tapi, gw rasa iklan ini cuma sampe situ aja. Blum bisa ngasih dampak behavior buat targetnya. Gak tau ya, tapi gw rasa, kalo targetnya (yang pasti bukan gw targetnya.. gw cuma korban, hahahaha..) liat iklan ini, iklan ini blum bisa bikin targetnya mikir, "Iya, ya... harusnya gw gak gitu lagi...". Jangan-jangan mereka nanti malah pengen punya kuda-kudaan kaya gitu, lagi... hahahahaha..... Tapi mungkin gw salah. Jadi, gw tunggu komentarnya...

5 Steps To Be A Great Creative Director

I took this article from my friend's blog. He's one of the best creative director in Jakarta. I used to work with him for about 2 months, and he teach me a lot more things than what i got in class.. He told me that we have to give what we have earned, and we will earn more... So, i guess i will share you what i've learned from him. Well, i cant support you with English version since the article's too long... hehehehe..

Here we go...

The Ultimate Creative Responsibility! Emang Enak?

Pertama-tama, being a great creative person bukan jaminan kalo elo bisa jadi great creative director.
Alasan gue nulis ini cuman sekedar panggilan jiwa dan bathin buat share apa yang gue pernah denger dan gue rasa bener menurut gue, buat mereka-mereka yang sebentar lagi, mau, atau bahkan udah lama merasakan pahit getirnya pergeseran pekerjaan kreatif ke manajemen kreatif. Enjoy.

Ambil contoh, Darta, bukan nama sebenernya, dia ini top-gun di advertising agency tempat dia bekerja. Disiplin, nggak basa-basi, always meet deadline, jago konsep dan eksekusi. Tahun demi tahun dia bekerja ditempat yang sama (bukan satu atau dua tahun mencelat kesana kemari biar naik gaji atau naik posisi) satu-satunya jalan buat dia is straight to the top. Setiap kali ada promotion, namanya selalu jadi top-of-the-list. Darta mau nggak mau nerima promotion, cuma sekedar menerima kenyataan pahit atau dengan kata lain learning the hard way, bahwa semua karakter dan sifat-sifatnya yang bikin dia jadi creative person yang hebat, bukan jaminan dia untuk jadi manajer creative people yang (boro-boro hebat) lumayan.

David C. Baker, principal of ReCourses, berkata," So many Creative Director have been promoted to that position because they were good at being creative. But, there is no connection between that and being a good creative director."

MANAGEMENT! SUIT SUIT HEY HEY!
Waktu Darta dipromosi jadi creative director, dia udah jadi creative paling enggak sepuluh tahunan. Paling enggak dia udah jago banget dalam hal crafting dan manage dirinya sendiri, ditambah pengalaman dia yang me-manage segelintir orang kreatif pas dia jadi group-head, yang notabene nggak ada artinya buat dia.
Jadi saat dia di-promote, dia ngerasa yah mungkin udah saatnya.

Tapi nggak lama kemudian dia ngerasa bahwa me-manage creative outputnya sendiri jauuuuuuuh banget dengan ngasih arahan dan mengontrol creative output dari tim kreatif yang dia pimpin. Dari ngasih bimbingan, arahan dan kritik ke tim kreatifnya jadi hal yang sangat "tricky" buat dia.

"Gila, lumayan susah, buat ngasih arahan konsep dan eksekusi kreatif ke tim kreatif yang pengalamannya dibawah gue," kata Darta.
"Apa gara-gara kebiasaan kerja sama-sama terus sekarang gue jadi boss/atasan mereka kali, tau deh."

Suasana aneh yang dia rasain saat dia jadi creative director makin kerasa waktu pas menjelang presentasi kreatif yang super penting buat klien kunci.

"Kebayang gak sih, deadline makin deket belum ada konsep yang client-ready, aduuuh pusing," katanya. "Gue nawarin bantuan gue ikut mikir dan ngerjain, tapi ngeliat muka mereka yang seolah ngomong: ngapain sih lu ikut2an, kurang kerjaan apa udah jadi boss?"

Akhirnya Darta memilih untuk back-off. Tim kreatifnya akhirnya mengeksekusi arahannya.

Pelajaran paling berharga buat Darta, bisa disimpulkan dari salah satu seminar yang dia pernah ikutin seperti ini, "Bantu mereka, tapi jangan kerjakan pekerjaan mereka, dan jangan sebentar-sebentar jump-in untuk menolong mereka."

Ada perbedaan mendasar dari being responsible buat kualitas pekerjaan diri sendiri dengan being accountable untuk kualitas dan crafting output pekerjaan orang lain (baik satu maupun banyak orang).
"It's a tough transition for many creative people".

Awal kesalahan mendasar seorang creative director adalah tendensi untuk membantu mengerjakan pekerjaan tim kreatifnya. Mereka sudah sekian lama merasakan nikmatnya dipuji karena kemampuan mereka mengerjakan pekerjaan kreatif, mereka pengen terus merasakan kenikmatan itu, atau kadang mereka masih ingin merasakan asiknya jadi 'pemain' yang super duper produktif.

5 POIN MANAGING CREATIVES AND CREATIVITY dari David C. Baker

TAU DIRI LO SENDIRI (KNOW YOURSELF)
Elo gak bakal bisa jadi ngasih direction buat orang lain secara efektif kalo nggak tau cara me-manage diri elo sendiri. Gimana gaya/cara/kekuatan/kelemahan elo. Awal dari seorang creative director yang masih gres adalah ngaca! Liat kemampuan diri, lakukan evaluasi kekuatan dan kelemahan, kenapa elo dapet promosi dan apakah elo yakin bahwa elo memang mampu (buruan tolak kalo elo nggak suka atau ngerasa nggak mampu. serius!!!).
Ada beberapa site di internet yang bisa jadi patokan, www.myerbriggs.org, www.piworldwide.com, dan www.onlinedisc.com.
Kalo elo orangnya suka ngatur, pasti banyak orang yang bakal reseh kalo sedikit2 elo mengkoreksi mereka. Kalo elo orangnya dominan, pasti bakalan bentrok sama orang yang punya sifat yang sama. Intinya mengenal diri sendiri adalah cara yang paling bijak untuk mengenal pribadi orang lain.

TAU TIM KREATIF ELO (KNOW YOUR TEAM)
Alat yang paling efektif dalam me-manage kreatif adalah dengan berusaha mengenal mereka dan mencari tahu cara mereka bekerja dan berkomunikasi.
Mungkin ada yang bilang elo kurang kerjaan kalo elo punya daftar inventaris karakter personal, skill, dan cara kerja masing-masing tim kreatif elo.
CD yang baik tau setiap anggota tim kreatifnya, tentang cara mereka bekerja, plus kekuatan dan kelemahan masing2. Karena setiap pekerjaan/proyek bisa jadi butuh spesifikasi tim kreatif yang berbeda-beda. Penting juga untuk cari tau apa yang me-motivasi mereka masing-masing.

MANAGE THEM THE WAY THEY WANT TO BE MANAGED
he he he inget nggak waktu jadi art director atau writer, ada yang pengen briefnya lengkap tertulis rapih jali orkes madu, ada tim yang nggak peduli ada brief atau enggak, ada yang butuh deadline tertulis dan kapan real deadline beneran karena kalo enggak mereka akan ngambek, dan lain lain yang kadang kalo dipikir-pikir absurd juga.
Intinya adalah setiap orang/setiap tim kreatif punya cara kerja yang berbeda-beda, jadi jangan kaget, itu cuma STYLE mereka bekerja. Nggak ada metode yang membuktikan cara yang satu lebih baik dari cara yang lain. Jadi saat kita mencoba meng-adapt satu style yang bisa berlaku untuk semua orang, ada baiknya kita lakukan sembari kita tap-in ke masing-masing karakter kerja tim kreatif.

SERING SERING KOMUNIKASI (COMMUNICATE OFTEN)
Berusaha untuk mengkomunikasikan ekspektasi dan memberikan kritik yang konstruktif adalah hal yang paling sulit yang dirasakan seorang creative director yang baru. Kadang hal ini bisa membuat mereka stress berat... hehehe biar mampusss.
Solusi yang paling baik adalah dengan cara mebuat hubungan yang kuat dengan tim kreatif dengan cara membuat kreatif meeting yang regular. Cukup 10 menit untuk tim kreatif. Jangan campur adukan meeting ini dengan meeting evaluasi, deadline, dll. Bikin meeting itu informal, santai dan usahakan untuk ngomong apa adanya dan ajarin mereka untuk ngomong tentang concern mereka apa adanya.
Biar lebih asik dan kondusif catet agenda setiap permasalahan dengan jelas, dan poin-poin diskusi, supaya ada re-cap dan tercatat dengan baik dan rapih.
Hal ini terbukti me-minize konflik. Tim kreatif bisa belajar meng-ekspresikan perasaan mereka, ngasih feedback dan cd bisa memberi feedback langsung secara konstruktif.

PASANG STANDAR TERUS PERGI JAUH JAUH (SET STANDARD, THEN BACK OFF)
Ngasih direction ke orang lain itu rasanya kayak jadi pelatih. Tau kapan hands-on kapan mundur, kapan ngebiarin mereka melakukan sesuatu dan melakukan kesalahan supaya mereka bisa belajar dari kesalahan itu. Wuih, what a challenge!
Kadang CD yang cemen, tergoda buat ngebantuin too much, atas dasar pokoknya kerjaan kelar pada waktunya.
BELAJARLAH UNTUK MENGHINDAR DARI GODAAN TERSEBUT! Susah sih, emang, itu udah kayak insting; tapi kalo berhasil wah itu hal yang sangat berharga...

Akhirnya, jadi creative director itu adalah mengeset standar kreatif dan bertanggung jawab sepenuhnya atas hasil akhir dari kualitas departemen kreatif, dan mencari cara untuk menghasilkan yang terbaik.
Ada sih, hal lain yang harus seorang creative director lakukan untuk anggota timnya, seperti invest waktu untuk memberikan pengetahuan tentang company culture, history, filosofi, dan standar perusahaan. TAPI yang paling penting adalah: Membiarkan setiap anggota tim kreatif untuk follow their own instincs and ways of working, and letting them learn from their own experiences...

Selamat menjadi creative director yang lebih baik!

______________________________________________________
Saduran super cuek dari HOW, Design&Photography, August 2005
Help! I'm A New Creative Director.
5 steps to becoming a great manager

Bilingual Version

English: I was just thinkin', should i post articles in English or Bahasa?
Indonesia: Tiba-tiba gw kepikiran waktu lagi garuk-garuk puser sambil salto, apa sebaiknya gw ngisi blog ini pake bahasa Inggris ya?


I think it'll be better if i write it down in English, so people from around the world could understand...
Mungkin kalo pake bahasa Inggris bisa keliatan lebih keren dan intelek, dan kalo ada bule-bule yang buka, mereka juga bisa ngerti dan ikutan nyela...


But it'll sounds much more "honest" if i use Bahasa...
Tapi kalo gw pake bahasa Indonesia gw bisa nyablak, nyela, dan ketawa semaunya, lagian terget gw kan orang (praktisi, mahasiswa, dan korban iklan) Indonesia...


So, i think i will use Bahasa as the main leanguage, and put English subtitle, just like this article...
Setelah berpikir 7 hari 7 malam gak makan, akhirnya gw putuskan buat bikin artikel bilingual, kaya' artikel ini...


I hope, the bilingual article could reach even more people from around the world...
Semoga, dengan artikel bilingual, blog gw bisa dinikmati dan dimengerti juga oleh bule-bule seperti Osama Bin Laden dan Uskup Bello...


Enjoy!
Mangga!

Star Mild: Apa Obsesimu?

Udah pada liat iklan star mild yang baru? Iklannya ngasih liat cowo-cewe berantem di tempat umum (kaya'nya di mall) trus tiba-tiba ada cowo aneh yang motong sambil bilang "Cut!!". Lalu dengan gaya kaya' sutradara dia bilang "Mana ekspresinya? Mata kamu kurang bicara. Siapa sih lo?! Gitu!! Ok!? Yak camera rolling, and, action!!" Dan pasangan yang lagi berantem tadi cuma bisa bengong. Ditutup dengan supers: "Obsesi:sutradara" dan "apa obsesimu?".


Well, gw baru liat iklan itu di TV bareng temen gw dan mereka pada ketawa. Katanya iklannya lucu.


Lucu? ya lumayan sih... Tapi itu ngingetin gw sama salah satu iklan yang menang bronze di Cannes festival 2004. Iklannya AGF yang jadi sponsor Toronto International Film Festival. Iklannya dibuat 3 versi (Notulen di pengadilan yang kaya' penulis naskah, pilot yang kaya' aktor, detektif swasta yang kaya' sutradara) dengan copy: What do you love to do? Why aren't you doing it?


Menurut gw sih 2 iklan itu mirip banget. Mirip lah... Dan gw gak tau itu sengaja atau gak... Well, tapi itu menurut gw, siapa tau gw salah...

Dosa gw gak sebanyak mereka...

Semakin hari gw semakin banyak dosa. Ngetawain sinetron-sinetron murahan yang stereotype di TV, yang herannya masih aja ada yang bikin tontonan gak masuk akal kaya' gitu. Masih ada aja model-model yang katanya ganteng dan cantik yang mau menjerumuskan hidupnya dengan maen di acara gak ada otaknya kaya' gitu. Dan parahnya, masih ada aja orang-orang yang rela ngebuang 1 jam idupnya (itu kalo nontonnya sehari satu) cuma buat nonton yang begituan, dan salah satunya gw... Tuhan selamatkan hambamu ini...


Saat gw berharap dapet tontonan yang lebih bermutu di bioskop, dan berharap banyak dari bangkitnya perfilman nasional, yang gw dapet lagi-lagi Raam Punjabi and the gank yang gak karuan itu. Buat apa gw nonton sinetron di bioskop kalo yang di TV 14" aja udah bikin sakit mata dan gatel-gatel.


Belom lagi iklan. Dunia yang sangat gw cintai ini pada kenyataannya lebih banyak memberikan tontonan malu-maluin. Makin banyak agency yang gak malu buat ngejiplak abis iklan-iklan luar. Dengan tanpa malu dan gak punya harga dirinya, mereka gak mikir kalo ada orang-orang yang nyadar perbuatan hina mereka itu.


Mereka... Orang-orang yang bikin tontonan memalukan itu... harus segera disadarkan.


Tapi gw optimis, akan datang masa dimana semua itu jadi cerita lama. Jadi masa lalu yang kelam. Kaya' kalo kita ngetawain diri sendiri waktu liat foto kita jaman masih kecil pake celana monyet dan makan baso tusuk sambil ingus meler.


Gw percaya, semuanya pasti bisa jadi lebih baik. Untuk itulah ada orang-orang kaya' gw, kaya' kita, yang gak cuma bisa komentar, nyela, dan ngehina, tapi juga ngelakuin sesuatu...


Do something!! Dimulai dari ikutan gw nyelain dan ngetawain mereka...