Creative Bites: Pål Roos

02: creative bites, creative bites



You’ve been to Portfolio Night before; how would you describe it to a fellow CD who has never been?
“A very intense experience. The energy from the speed dating arrangement is overwhelming in a great way. The pressure is high on both junior creatives to make quick, catchy presentations, and on the creative directors to give short and simple advice.”

How important is it for a portfolio to be highly polished?
“If you have a portfolio that is too polished you unfortunately come off as something of a control-freak. It also gives the feeling that your portfolio is static. On the other hand, a sloppy portfolio puts across the feeling that you don’t respect your craft. I guess a happy medium is the best.”

What are your biggest pet peeves about the work in most junior portfolios?
“I’d really love to see less case movies (unless they are very short and to the point). Sometimes a still explains a concept better.”

Do you think there is much of a distinction left between writers and art directors nowadays?
“There should be. To survive at most agencies you need to be both a generalist and a specialist. You need to feel a strong passion for your craft to have the ability to work across a wide range of projects, and also to be able to develop in the business for a longer period of time.”

In general, how well do you think ad schools are preparing students for the business? What could they be doing better?
“What you get out of attending ad school is mainly three things; the awareness of the competition, the opportunity to work with your portfolio, and (perhaps the most important) your network. The rest is up to you.”

What will a creative director’s job be ten years from now?
“I think the role of the creative director will grow in importance. As assignments get more complex with more disciplines involved, the need for conceptual guidance will increase.”

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