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Midas Awards Grand Jury Spotlight Interview: Paul Cartlich

 

The Midas Grand Jury is instrumental in selecting the World's Best Financial Advertising. This all-star jury of award-winning creative executives is recruited from the most prominent agencies and corporations in the world of financial advertising. They come to the judging table with enviable experience, brilliant creative chops and dedication to the industry.

 

Paul Cartlich is Senior Creative Editor/Producer for Giaronomo Productions. During his career, he’s been responsible for several high profile television and film campaigns ranging from The Walking Dead Comicon trailers for seasons 1, 4 & 5, TV Campaigns for Breaking Bad and Mad Men along with trailers for Filth and Louder Than Bombs. Paul is also the editor behind the critically acclaimed Rust and Bone trailer.

 

In the interview below, Paul shares his creative insights on successful award-winning work, the challenges and benefits of judging international entries, and what inspires him.

 

Midas Awards: What do you look for when determining whether a campaign is successful and award-winning?

Paul Cartlich For me, a stand out piece of marketing has a combination of the following elements in just the right mix: Impact is key as you have to grab your audience’s attention and imprint your message. Really great advertising stays with you long after the event and the best way to create an impact and lasting impression is doing something innovative. Every time someone talks about the campaign they are effectively re-advertising the product for you, so permeating popular culture is a real bonus, sometimes this is through a visual moment or an expert piece of copywriting- that in really brilliant scenarios becomes a catchphrase. Although it’s not a financial campaign “Whasssup!” from the 90’s still sticks in my mind. That’s clear evidence of a job well done and then of course there’s the Barclays’ tagline “Fluent in Finance" which encapsulates everything in 3 simple words. 

 

Midas Awards: Is it difficult to judge work from other countries around the globe? What are the challenges and benefits?

Paul Cartlich: It can be challenging for reasons from language barriers to subtle cultural nuances that may be lost on someone who's not native to the country that the marketing is primarily aimed at. However the best advertising speaks to a wide range of people from across all walks of life and the beauty of coming to it free from direct cultural influences means you see it with fresh eyes and a clean slate. That can be quite freeing and advantageous. It's also always nice to see what's happening in advertising on a broader scale. 

 

Midas Awards: What inspires you? 

Paul Cartlich: I'm inspired by anyone who's brave enough to put their work out there. Even when the results aren't classically successful, there's merit in every artistic creation if you look closely enough. I'm inspired by endeavor. Today's triers are often tomorrow's succeeders. On a more micro level, I've always been inspired by colleagues. I've been very fortunate in that I've worked with some incredibly talented editors over the years and watching the way they attack a film can sometimes open up a whole new angle for me. I love music and often draw inspiration from that, whether it's an artist who has particular resonance for me, or hearing a song for the first time and just knowing I have to use it in my work. 

 

Midas Awards:  What would you be doing if you weren’t working in advertising?

Paul Cartlich: Oh wow that's a toughie. I still have a half finished screenplay that needs work, but if I hadn't unlocked my passion for trailers I could have ended up doing anything. I studied music and technology at university and I dabbled as a DJ and wanted to get in to music producing. It was actually my interest in music that got me in to movie advertising as I found myself paying particular attention to what tracks were being used in trailers, and how they enhanced them. I realized that could be the way to combine two of my passions for a living.



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