ENTREVISTA a RICHARD WAKEFIELD Descubre la HISTORIA del Publicitario Creativo 🚀

En este episodio de "Un Café con Quijote", Rodrigo Marín entrevista a Richard Wakefield, un brillante publicitario con una trayectoria fascinante. Desde sus inicios como escritor hasta su éxito en la publicidad y la fundación de Publicitarios Implicados, Richard nos comparte su viaje lleno de creatividad, retos y aprendizajes. Conoce cómo una mente rebelde y apasionada puede cambiar las reglas del juego en la industria publicitaria. Temas destacados: Los comienzos de Richard en la escritura y la publicidad. La influencia de sus mentores y profesores. El origen y la misión de Publicitarios Implicados. La importancia de la creatividad en la educación y el trabajo. Reflexiones sobre la industria publicitaria actual. Su pasión por la música y cómo influye en su trabajo. Su libro "el estereotipo me mata". ¡No te pierdas esta inspiradora entrevista! Dale like, comenta y suscríbete para más episodios llenos de insights y aprendizajes. 🔔

Episode Transcript

(00:01):
Good afternoon. Once again, herein coffee with quijote and today I have
a spectacular guest. I mean,I' m gonna be honest. I
didn' t know him until afew weeks ago and let' s go.
It' s been meeting him andhe' s already hooked me up
and tricked me into putting me whereI' m going to be. Nice
to be there. I' malready cheating on you to come to my

(00:24):
coffee with quijote. So, goodafternoon, Richard, it' s a
pleasure to have you here. Goodafternoon, how are you doing? Very
good, very good. Really andnow my big first question that I ask
all my guests is who Richard isbefore getting to this day, who he
was and you can go back towherever you want, because basically a person

(00:46):
that I always liked to write whenI went to school with nine years and
I made up stories about omnis andthings like that and that and always,
well, I have followed in thesubject of writing. Then I went to
uni and all the teachers told meah two you wanted me, very well
and so you have to dedicate yourselfto journalism, journalism, of course and

(01:10):
such, and at that moment Ihad to decide, why decide on journalism
and advertising. I said I don' t know why, but I like
advertising much more. I think it' s a territory as more, much
more creative. And so, andI decanted myself for advertising and basically I
think that what I did like towrite it and I do it developing in

(01:30):
different ways, but I feel comfortablewriting. Yeah, I mean, he
must be one of the few guestswho' s studied something he' s
worked on later. Yes, thetruth is, because it was even before
finishing the grade, because a teacherwho was for me almost like my father,

(01:53):
my advertising father, José María Ricarde, because he already told me not
you have much wood. Such,I don' t know who, I
don' t know how many twentyeMe agency, how good and how good,
and there I started and then Ifound myself comfortable thinking ideas and so

(02:20):
and well it was as we sayenough, quite fluid for what it is
now. No, because now thingsare much more complicated, well, but
to see me I' m veryinterested to know the theme of how writing
and suddenly good writing, journalism andsuddenly advertising and when you' re in
college, you either start working oryou already have concerns or you start saying
oyster. We can do this,where we spark, or how. Suddenly,

(02:42):
a teacher can say Richard is creativein what is different or how you
can see it. I don't know. What I remember from the
University is that, for example,they put on a practice of creativity and
if the majority made it white,because I made it black, or I
' m the majority made it incolor and in black and white, and

(03:07):
it was like and then even thecomrades told me hey, help me do
this that I don' t knowwhat. And the truth is, I
felt comfortable thinking ideas and stuff,but they weren' t like you didn
' t have a conscience at thetime, because of course you' re
twenty years old and well you seethat things are easy for you and such
good. The most incredible anecdote ofall of this is that when she was

(03:30):
still doing the miglie at that time, a colleague told me listen look who
told me here that if they willdo a poem contest and that in Gane
will have four days of permission andI say well, I send you something
and I asked for a problem andyou won that they threw four days of

(03:51):
permission. Teo da. Thank you, thank you. I don' t
know what. So good. It' s a land that I' ve
always been given the truth. Allright, that' s natural. Yes,
as very natural and as almost unawareof it. You think that in
school, because of course in yourtime and I' m a teacher for

(04:12):
many years, you think that inschool creativity is killed a little, killed
or finished. I think it dependson school because there are always honorable exceptions.
But I went to a salle schoolthat there all rules rules. I
think a little bit of that kindof school that sometimes gets you to go

(04:35):
against it, that is, youdevelop a feeling against so many rules,
so many rules and so to goaround here, this side of the hall
form. I don' t knowhow many. And of course I was
bursting, I mean, I couldn' t stand it. I found it
absurd to follow so many rules andso many stories and so on. Well,

(05:00):
I think Kike was born a rebelliousspirit. Not to say, not
this, not this standard. Well, I' m not going, I
' m not going and I'm not comfortable. But it' s
true that when the boys then goto the girls go to college that now,
well, I' ve been ateacher for many years, you notice

(05:24):
that lack of how to have morerooms, to have more daring to let
go. A little not sometimes.Yesterday I was watching the game of tennis
from the caraz to the craz andin one of these, Ferrero, who
is the coach, told him tolet go, let go, no,
let go, and this of course, in some schools was impossible. I

(05:46):
mean, how you' re gonnalet go is that everything was super.
The job has to have five pagesand I don' t know what to
go through and I don' tknow what and I don' t know
how many. And now everything asthere was no room for creativity, and
I think that' s still dragging. Well today, it' s true
that you, when you have topresent a job or a tcm or something.

(06:12):
Well, you, you' remore of a profession. Maybe you
don' t care, but it' s true that interlinear I don'
t know how many shots, sizetwelve and how you get out. That
' s where you crucify. TheTFG, which is the final grade job,
is trufated with rules and, instead, when at least in good it

(06:33):
does not salute is valued by jury. That is, when a TFG has
as a very creative conclusion, itis not valued as much as it has
followed, as there is the bibliography. I don' t know what interviews,
I don' t know what,I don' t know how many.
I mean, it' s goodthat I think it' s a

(06:55):
subject that' s actually a lackof both schools and college. But he
' s doing me because of whatyou' ve said there as a bit
of a rebel, and I wasa little less giving my mother away.
I had long hair, very longat the time of high school and I
was going to one they took meor a private one okay, but that

(07:15):
' s another topic and you can' t wear long hair. Oh,
no, no, of course,the principal told me to let you cut
your hair and said no. Icut my hair and he said yes,
and I say no. And hesaid well, he says I leave you.
But if you have your hair inline and I was the only student
who could wear long hair because Ihad very good grades and was very good
the student and such, but withthe hair gathered in a tail of horse

(07:38):
and if not, if I letit go, they would expel me.
I mean, I used to saymother of God. Uh, yeah,
yeah, I mean, even fora purely aesthetic subject, no, yeah,
yeah, yeah, so total,yeah, yeah, well, but
look at what you' re sayingat the end. You think you'
re rebellious. No. And you' ve done well there. No,

(07:59):
yeah, no, no. Thatlooks good to me. What happens is
that, of course, I havehad so many along the way, many
obstacles and many stones. Not becauseof course you already know that the one
who goes a little against the onewho says no. No, it didn
' t happen here or right awayit has, because they' re a
series of people who, because you, can' t be because this,

(08:20):
because that yes, yes, it' s complicated sometimes, but well,
in the end, well, everyoneinterprets life in their own way and a
time when, well, you're not going to change it anymore.
And just like you, who knowyou two days ago and I see you
as having the creativity totally in yourbody, and that' s something that

(08:43):
doesn' t change, or you' re like that, you' re
wearing it like that and that's it, and I think there'
s a time when in the endeven the most reluctant or the most reactionary
people, and that' s howthey finally say good this person is.
There are things I don' tlike, but in the end it plays

(09:05):
me, it worked out for meand I have to have it. Okay.
It' s okay. So thenin college you already go out and
go directly to an advertising agency.Yes, yes, yes, because from
the hand of José María Ricarte,which was for many years until my counselor
died, my personal advisor, peedme yes, I am a mentor of

(09:28):
any decision. Listen José Maria,I don' t know what you would
do and this and the other,even advertising involved that in embryonic phase,
I told him and he told methis is the bomb so and he told
me at first, na I willunderstand at first it' s going to
be like what these green dogs are, how about and what? But if

(09:50):
there is constancy, you' llsee how in the end this project is
going to be the bomb, it' s going to be very respected,
it' s going to have asmuch prestige and so on. And those
words stayed with me because at firstit was like good, as in plan
everyone runs to one side. Iran, made another, explained, explained
the project. Nobody understood anything.But how do you mean you' re

(10:13):
going to help do this, Microngsdo his campaigns, but what crazy is
this and besides where, you're going to get the money and I
don' t know what and Idon' t know how many. I
said no, not that there's no money, like Cain, there
' s money, but without moneyyou can' t make it. And
it was all like, the advice, the even gurus of creativity. It

(10:33):
was, don' t leave it, I mean, leave it because you
' re going to hit a shitholeand you' re going to lose a
lot of energy and you' regoing to get frustrated. I don'
t know, I don' tknow how many. But in the end,
I saw it clearly. But inheaven I saw it clearly. There
was one person I have to highlight, who is the director of the advertising

(10:54):
magazine Dañí the field he told me. I see it this has to work
and it was the first person whogave me an interview in the magazine and
such and the first let' ssay public appearance of publicists involved was in
the publicist. So it is goodthat also a very, very anti-

(11:16):
project, especially the early years.And then, already, with the most
settled and most respected time, tosay something good now, that this has
been a constant. But now we' re talking about publicized people involved,
because it' s a subject thatI' m sure is very interesting about
how it came up and all ofthis. But then, when you enter
the advertising agency, you start workingand how the advertising world is and more

(11:41):
and more interests me much more before, because today I guess it will have
absolutely nothing to do with you whenyou started. Well, in the end,
I mean, I don' tknow either. I believe that after
the time of saying the legend ofthe great agencies and stories and such a

(12:03):
time that will never again return matMain and all that stuff is totally fiction.
It' s fiction. In theend, I always say it.
A creative is a person who ina bar and with a laptop can create
a campaign that goes to millions andis as simple as this. I mean,

(12:24):
you have a laptop, you haveyour bagage, your culture and your
briefing, and you don' tneed to go to the agency in any
coffee quietly, and you say"holy" I didn' t happen to
have a slogan, or this isluega you can make a story tading,

(12:45):
because I don' t know whatpin pan pam and you start there to
put together and I don' tknow. I think that is to say,
we have to demystify a little alot of things from advertising, especially
those that refer to the Great Moor. I think that the Great Mour sings
pretty good. And there is anotherthing that needs to be demystified and that
lately I am getting very serious,and that is to affirm that the best

(13:15):
creative and creative are in Barcelona andMadrid. That' s not true either.
That is said now, well,it has always been said ah yes,
yes, but globally or at thelevel of Spain, prema of Spain,
ah ok, that is to sayit is in Spain. It'
s like you don' t workin Barcelona Madrid, because you' re
nobody. He is a person,for nothing, an ipsider, a bennigeric,
as the pliers say it is worthand such. But of course then

(13:39):
you see or I' m veryinterested in this subject. So I'
m following agencies from Alicante in Seville, Galicia and so on, I say
Hostia. They' re doing supercool super creative things, I' d
even say less vicious, less deliciousthan in Barcelona and Madrid, in the
big agencies. And such is good. I think that' s another myth

(14:01):
to break and it' s thatgood. The fact that you' re
not in one of the two bigcapital cities with the agencies. We can
say bigger. It doesn' tmean that you can do incredibly good things,
even if you' re in anothercity and more than a mile away,

(14:22):
from what I' ve seen,you live better outside Barcelona or Madrid.
That' s where there' sthe most stress. Not so,
of course, of course one thingcarries the other. But it' s
making me laugh that you said,because let' s see if we'
re breaking another myth here too,because I see it, too, and
I' ve been in this worldfor a very short time online. But
the need for the face- to- face marketing agencies in a nice office

(14:48):
overlooking x when you suddenly said thata creative or creative person in the cafe
of your home or in the toiletmight have the best me. And but,
well, no, but perfect inthe bathroom there was not a mathematician
or someone once shaving that' swhen your head isn' t there I

(15:11):
mean, it' s focusing something. He came up with an idea and
he solved it. I don't know what it means. You don
' t need to go to anoffice and sit there for eight hours with
the whole team. No or no. Not really, though. I have
to say, the fact that you' re on a team, let'

(15:31):
s say you' re stimulating usat meetings. This has always been very
positive for creativity, that is,the right for there to be five or
six people talking about a subject,talking and because I see it this way,
I see it that way. Ithink it' s really good to
make it face- to- face. Okay, this one aside. Yeah,

(15:52):
now, from here on, youcan have me know two days online
another no longer know how much nowthey have done to find you face-
to- face. Think that thisthroughout the history of culture, going on
many times writers who got together,musicians, seals that got together, then
they talked there, because why wedon' t do this and we know

(16:14):
that and I don' t knowhow it goes To me this I think
it generates a lot of creativity,so I think we have to combine,
that is to say the fact thatyou go every day and you' re
twelve hours in the agency. Idon' t think that' s necessary.
But that is also quite multinational culture, multinational cultures VML or, Gilby,

(16:36):
mccan, etc. It' sa little bit of this and it
' s also your culture. Havea piece of offices that to see that
recently I was in Ogilby Madrid andoffices that are of exhibition museums, because
they are wonderful, they are beautiful, they have a spectacular level of design.

(17:00):
But what you said, in asmaller space and on an 80-
metre floor, can also bring outvery good ideas. It' s not
right, but you think that inthe advertising world people help each other.

(17:22):
Or it' s more oysters.I don' t release this idea,
because if you steal it from meor, you copy it to me.
These people don' t care ifthey copy you. You like it better.
No. No. I don't think anyone likes being copied.
I think that we only help ourselveswith family and friends and that it is
a sector where it costs a lotto bring initiatives among all, not that

(17:48):
it is more initiatives that we wouldsee corporate. For example, to make
a statement from the whole sector againstkilling civilians in wars, for example.
That is something I have tried andfailed to achieve, because all the institutions
have told me no. No.This can' t be achieved. It
' s impossible to agree on sucha thing. So it' s a

(18:11):
sector that costs you what you've done to help each other, but
not to have ideas, to havemore creative women initiatives. It seems to
me that this is a very goodinitiative and that I admire them very much,
because they are getting and demanding,therefore, that the role of women

(18:36):
leaders in the sector be somewhat balanced. But there are exceptions more creative,
advertising women involved who also do manythings. When we did the first campaign
for Open Arms, we managed tobring together twenty- three creatives so that
together they would say the message ofIyam Serian, i e, pristome Gide

(19:00):
saying iam Sean Luis Barsanti in LianSerian and such. So that was an
exceptional thing and it was so exceptionalthat it came out in all the magazines,
that is, the advertisers come together, like all the reviews of the
advertising sector, a joint action ofthe advertisers to operate was like something very

(19:22):
exceptional. So I think it's a sector that has always lacked this
feeling of being more corporate and doingmore together. Now the topic of ideas.
This is good. A territory thatmeans I don' t get copied
by anyone because it doesn' tkill. I mean, and he'

(19:45):
s named creative women and so on. The world of corporate advertising and the
level you' ve been to isvery masculine. Yes, yes, yes,
clearly it has been, it hasbeen very, very masculine. It
is true that in the last fiveyears there has been a change, also

(20:07):
because there has been a lot ofvindication and because now we can quote without
any problem, twenty creative directors ofthe highest level who are working here.
But yes, yes, I havelived machismo in pure state. They have

(20:30):
the women you think they have alittle more imposter syndrome than men, and
that' s why they' vebeen a little covered up until, all
of a sudden they' ve saidlook up here. Yes, it is
true that to see Spain historically hasbeen a clearly macho country and this has

(20:52):
led to the role of women,as it has always been in second place,
and such and good, but wellI believe that we are now living
a time in which forces are beingfairly balanced. What is missing is more
managerial positions or those managers, whoare still largely male. But there are

(21:19):
many women in the sector who standout that they have won prizes and that
I think they are doing a verygood job and that in the end,
I always say in the world thereare people whatever, man or woman,
or whatever, it doesn' tmatter. In the end. You have

(21:42):
talent, because it is what counts, especially in this profession that is governed
by talent. Talent can' thave super diverse people. Of course,
it' s not clear. Andthen, Richard, in the people you
' ve had, you' vealways been the same agency or it changes.
I' ve been changing. Iwas changing at first I started in

(22:07):
two big multinational agencies, a littlebit like you learn to work very fast,
to work under pressure, to demanddates and all that kind of stuff.
And, well, I think it' s a really good learning.

(22:30):
And then already as I started tochoose as projects with less stress, after
stressing out a lot, because Isaid well maybe I can find some less
stressful projects these. And then Istarted going into more local projects, not

(22:56):
multinational projects, until I finally gotwhat I wanted, which was to work
on my own, so let's say I have my project and do
things a little bit my way.How it came about to start your project

(23:17):
or agency and so on, wellbecause in the end, like the big
question, you have customers or youdon' t have them. Because no,
that' s the big one,because if you don' t have
customers, well, I' mgonna start an agency project like that and
you' re jealous clients at leastas very complicated. But at that time
I saw that I could have,because my clients trusted me and that I

(23:41):
could propose and have a project ofmy own. I mean, that'
s something that there' s adirect relationship between you and having customers and
being able to do your project,because I' m telling you to jump
into the market. I' mlaunching my project. It' s going
to be called and Hitsu and youhave no NS client, because it'

(24:02):
s complicated. It is thought thatall the agencies that come out of a
team come out of me, thatI know of a multinational and you set
up their agency and all that kindof stuff always do with customers, they
always have assured the point of havingcustomers. So that' s pretty important.

(24:22):
Look like this, now I understandwhy it cost me little by little,
but I' m getting it.But of course I came out of
nowhere without customers and it' sgood that you go. You call yourself
the Piicina. Of course you canimagine I was a teacher. I mean,
I suddenly get copied rater by learningfour courses and I' m telling

(24:45):
you clearly, the world of networksis selling it to you. They sell
it to you like that and itstarts raining, billing, making money.
And it' s not like that. And I' m very net I
' m very realistic and as Isay people' s awareness that this isn
' t easy and more you sayit, you threw yourself and you threw
yourself with all your expertile say no. No. But first your client didn

(25:06):
' t suddenly say I leave ita lot of people and they will not
come. No, no, no, that' s one thing to be
sure about, because if you don' t, well, it' s
also true that I know the factof being a teacher, because it gives
you that certain assurance in the sensethat well, you do a few hours

(25:27):
in college and that, well,it gives you a money and it'
s not zero anymore. Sure,sure, then sure, I started profe,
because about twenty years ago. And, well, twenty years, or
twenty years, twenty years ago,it' s worth twenty years. You
couldn' t have anything when youwere 20. I didn' t know

(25:48):
and we weren' t gonna doanything yet. But yes, well,
and I started out in the public, but I went to the private and
white. And, well, atthe very least, that gives you a
cushion, a cushion at the endof the month so it allows you to

(26:11):
make movements, good moves because,that I put, I don' t
mean, now I' m ata stage where I' m more focused
on writing at the best than ongetting more customers. It is not,
in other words, I prefer tospend energy, writing and trying and trying,
improving, evolving as a writer.And then, anyway, I'

(26:32):
m not so focused on getting newcustomers and that and that. But of
course, that always depends on thethirty- day you have minimal income to
allow you to do those things,because if it' s not crazy or
that I' ve read it inyour book, then we' ll talk

(26:53):
about it, which is true thatmoney doesn' t help happiness you put
in, but that money comes thatmonth allows you to release energy to do
other exact things. You don't need large amounts of money, because
that' s also very cultural,the fact of the material world and such

(27:15):
and having I don' t knowwhat and I don' t know how
many. And this and that Ido not believe in this I do not
believe and I see it absurd,because, for example, to wear a
clock of one hundred zero euros goodfor what, if you are not going
to look at it either, thenall that kind of material things I think

(27:37):
are not necessary, but at leasta certain security, you do need.
But I think it' s amistake, that' s a cultural mistake.
And there are many years to considerthat happiness depends on having many things.
It seems to me that a lotof people have lost energy here for

(28:00):
a long time and many have donea lot of nonsense just to get more.
But that' s the dumbest thingin the world, because you never
know what' s going to happentomorrow, so what' s the point
of accumulating and accumulating and accumulating Idon' t know, I don'

(28:23):
t see it well, but it' s a way of having a lot
of money, having a clock of100 zero euros is like the status not
of this clear, it' smarking there as a line of care that

(28:44):
I have such a Rolex and youhave, because a brind isn' t
sure. That' s how Itook care that I had advertisers clients,
that I had one, that Ialways had to show your Rolex range.
Then I came to the agency andthen I was looking for a way to
teach the Rolix and so that wecould see that not only did I not

(29:06):
have one, I had several likewhat I command here and such good,
to me these things seem absurd andI think everything is much simpler. I
am something that I relived as wellas quite in the book that in the
end everything is much simpler what itseems and that we complicate our lives with
stories. And so and now I' m going to do this and now,

(29:26):
because I don' t know howto embezzle funds to get more money.
But man, if you already have, you already have a lot of
money for you to get hooked upwith. So I think that people would
be in things and not value,because in the day to day there are
small things that are wonderful, asan example, because talking, talking seems
to me a great thing. Andto talk you just need two people and

(29:48):
a coffee, because it' sthere and you can have a great time
and you can' t have asuper- good chemical, energetic feeling And
that' s it and stop thestories, not good. But what you
were saying about the status, theroll and such You have worked for luxury

(30:11):
brands that precisely sell that, thatis, exclusivity as a guillo. Long
ago they said that a luxury brand, its ads, models or whatever,
don' t smile, because it' s like smiles that for everyone and
seriousness is exclusive to yes. Yes, yes, yes, yes, exactly

(30:32):
yes. It' s one ofthe absurd things. Good. Once I
' ve landed some fancy party,they would read me the protocol and say
to see I couldn' t someplacetake something and not be aware that if
I move my face that if Imove the hand that I am such come

(30:56):
man go now, let me,let me, leave me of stories.
I don' t think so,they seem to me to be totally absurd,
silly things and that I' mnot very paranoid. And I am
outraged that at a party, forexample, there is a drunk man who
throws ten bottles of a cava intothe street, which is worth a thousand

(31:21):
euros each bottle. I mean.This is unworthyly clear, no, it
is outrageous, totally good. That' s where the rebellious vein from the
school came out, not the normal, not the exact, not the here.
No, no, no, Isaid look, I' m sorry,
stop throwing bottles, or we're gonna have a problem here and
see that I' m quiet,I mean, I' m not an

(31:44):
aggressive person at all or anything,but I said, I mean, I
mean, either you stop throwing bottles, or here there' s going to
be a problem. So, well, I don' t know who you
are. I don' t care, I mean, it has nothing to
do with anyone. It has todo with you throwing things out on the
street. First you can give someoneand then you' re scorning, that
' s something when you stopped throwingten zero euros into the street and you

(32:07):
could make a transfer at best,to an association. I don' t
know how much more useful it wouldbe for you to throw this away.
No, ah, well, Idon' t know good, sorry,
I don' t know what itis that I' m a little,
such, a little high and soon. But finally these awards is another

(32:29):
world of things. He can't stand it in another world. Okay,
but hey, and then the prizeswhere do they come from? They
came to you from corporate agency,that is, for others or when you
started to be yourself, because Iwould say that the prizes that I want

(32:49):
the most for myself, because goodmore the ones that make you more than
meditation make me, because I wasalready totally independent. For example, the
National Prize of Creativity to Triccarte wasgiven to me for having carried advertising involved
so many years, it takes asa recognition to this work. And then

(33:12):
the award is a Salrard Drouch,which is also a very prestigious award,
but for journalists, with which Ithink since she hates me journalists, because
it was the first time that Iwon an advertisement. The Museural Rouch Prize
also made me very excited because itwas a prize for involved advertisers? So,
all the awards you' ve wonadvertising involved. For me they are

(33:38):
three times as valuable as others thatyou have been able to win, because
in large agencies and so and sothat it is very good. But I
think you take prizes with nothing,because we have zero budget. Like zero,

(33:59):
getting the budgetless to win prizes seemslike super tough to me. And
this is because we got together.All the crazy people, all the romantics,
all the dreamers, all the peoplewho have a way of thinking like
the same, are the ones whoend up together in a project that excites

(34:21):
us, excites us and we haveit forward. And, well, I
think I always say it. Implicatedis much more than a team. It
' s a group of people whothink just like we have a super important
personal and emotional bond that when weget together it' s the following thing,

(34:45):
because we' re all super happyand I don' t know how
we' re sharing, because thosemoments and the truth that good someone else
already told you, mate, thatwhat I' m most happy about is

(35:05):
everything that could have been done byone involved advertising and another is the stereotype
that kills me episodes. It's two things that cost me a lot
to carry on because he thinks thebook was like eight years to finish.
And, well, it' stwo things that have given me a lot,
that is, not just because ofthe fact of the wax, but
because of what you' ve receivedin return, that it' s been

(35:30):
like a lot and that I'm super happy with this. Not clear
now I wanted to talk about advertisinginvolved. Where does the idea come from?
When does the idea come up?What was the click Bou said.
I have to do this because itis obvious that it is something very breaker,
countercurrent and that arises from something thenwhat was that click that made you

(35:52):
create advertisers involved. Well, Ihad worked for a few more recognized phonexes,
Unicer, Intermon, Red Cross,etcetera. And, well, I
had a feeling that pretty much,this kind of ONPG had enough resources to

(36:15):
communicate well, to address people well. And one day I was working for
clowns without borders in Catalonia, thatour decision is in a team of an
independent agency that is called praises ourdecision was rather strategic, that is,

(36:39):
we think it does not work becausethey have not addressed the right people.
If they target the right people,they will surely have results. Oh,
okay, well, let' sdo it. They switched that chip from
telling the people we advised and thenthey had results. Then I thought I

(37:05):
' d transfer you to such asimple decision. Don' t tell yourself,
these quijas see that they look assuch. I then thought how many
people were going to be smaller,what a clown without borders. No oyster.
I' m sure there' sa lot of people, a lot
of associations and so I started lookingand of course it was all there full

(37:29):
of super- small associations that hadput them together. I know relatives of
people who had had a problem witha rare disease that I don' t
know what super people I know agirl who had gone wrong and so it
went crazy and a lot of schooland so people like heroes for me hurt
heroines And so I mean, thesepeople give me the feeling that in the

(37:50):
agencies here they don' t evendo us a fucking mouth. They don
' t exist. No, becausein the end, if you do a
very cool campaign for doctors without borders, you can win a prize, you
can also present. But a campaignfor an association that' s four,
I don' t know how.No, I mean, you don'
t have the exchange anymore. That' s the prize. I don'

(38:13):
t know what, I don't know how many then I mean,
we didn' t look and theystarted looking and that' s when we
said it' s full of smallassociations that nobody works and that nobody listens
to us and so on, andthe proof is that the moment we said

(38:35):
here we are and you can meetwith us, we' ve never,
ever, ever looked for a customerin fifteen years. Never, that is
always, have always come, thatis in fifteen years, eh, that
is, for that you see noteven there were moments that we have said
we cannot with so much demand,that is, there is too much,
then we have to say well,you can wait a month because such or

(38:57):
the team does not give for somuch. Now we pass. We'
re a pretty quiet moment in thesense that well, we' re doing
more of our own campaigns driven byus. But there have been times when
there was a very high demand andwell, it was a bit difficult to

(39:22):
meet. But the good thing aboutthese associations, too, is that they
call you good. If you can' t be today, it' ll
be tomorrow. If it hasn't happened, I mean, they'
re not there, they don't put the gun in your chest.
It' s not that it hasto be for the fifteen, it'
s not, it' s like, well, hey when you can,
when it goes well, it's enough for you. We appreciate that
I think you' re on ourlist. Now, for example, we
are in an association that is calledShamfra in dance music and music and dance

(39:52):
basically inclusive in a neighborhood of Barcelonaand there is Raval, which is a
neighborhood, because a little modest,and then there they integrate everyone from where
you are people of all kinds ofpeople who are deaf and such and through
music they get, because many things, because above all, they grow in

(40:16):
values, improve their are toestima andsuch and which. So, yesterday I
was just at the festival at theend of Shanfra' s course and I
stayed, I mean, in anincredible way, that' s amazing what
these people get, that is,a level of singing, playing, dancing,

(40:38):
that is, I was impressed.And I say clearly, these are
the projects that need to be supported, because they have failed today, because
they have not had much support,we can say in communication, and now
we begin to move in order toget them to achieve some of those objectives

(40:59):
and on the twentieth day we willalready have a video. We' re
doing an action for companies to doteam building workshops with the people of that
amopher. And well, those arethe projects, because we' re supporting
them and that he told me,you say that until today no one has

(41:22):
listened to us and see that ittakes you twenty years, twenty years notice
And yes, to see no onehad ever listened to them or there was
not. At the level of institutions, yes, it is true that the
City Council and at the level ofGeneral City Council and so on, they

(41:44):
have supported us, but at thelevel of having a team that thinks ideas
and that makes move the issue,they never had it. Check it out.
And I remember, for example,a meeting we had with the FEA,
a muscle strophy association, people whohave muscle prophysia and when you played

(42:05):
the meeting, we said well,what dinners can we start to make?
I don' t know what,I don' t know how many and
in the President, he said justbecause you' ve been here an hour
with us, you haven' tchanged our lives anymore, because until today
no one has listened to us.Then we organize with them, well,
a monolith festival. Well, becauseit' s good that these people who

(42:28):
have muscle istrology, they have ahard time smiling because for a theme from
then on what they think we doin an action it' s called saves
our smile, but we do itas monologists. Okay, shit. I
' ve made monologues and nothing waslike turning it around. Then we managed

(42:49):
to entangle a few well- knownmonologists and such tabas in festival. We
did a fundraiser there and stretched theconcept a little bit saves our smile,
which was like the idea. No. So, of course, the good
thing is that as little as youdo it right, these things work,

(43:10):
although, obviously, it costs themost to have space in magazines, on
TV. All this costs a lot, but well, we always try,
we always try to get everything wedo to get as much spread as possible.
So, well, and we've ever made it. For example,

(43:31):
a wingman with a former boat playerwho did not make it to the
first team arrived at the Sabet bar. We made a documentary called the inspiration
of the eight and supported us,because the boat supported us many means and

(43:52):
such and this docursi that came outeverywhere was published or Mrs t of three.
Well, he had a very,very long run in the media.
Let' s see Sometimes we getthese things. Sometimes it' s a
lot more complicated. And we can' t get there until we don'

(44:14):
t like it, but well,we always try, because they got as
far away as possible. You don' t think that now, with all
the new technologies there are now,it' s much easier to get there.
Yeah, I think this makes ita lot easier. And besides,
we now have, for example,the podcast. We have ways, you

(44:39):
know how to move the threads andyou know how to move the threads of
the media. Yeah, you canget a lot of travel. What costs
most is what we would say inthe written press, which is hard enough
to give you space. Yeah,yeah, why do you think it'
s hard to give these kinds ofassociations that are so necessary and so unknown.

(45:06):
I don' t know. Thetruth is, curiously, when they
get big then they do. No. For example, an elec may be
considered at first and when it barelygrew up and opened up it began to
do what it is now. Wellthen yes, sizes already a lot of
space and a lot of that is, it' s how it' s
like I give you, but youalso have to give me not then clear

(45:29):
a very small lotion. It doesn' t give you or it' s
mean as it isn' t,as there' s a lot of interest
there, it' s not likea little bit. Yeah, well,
if you' ve been wrong for15 years, it won' t have
gone, because we talked about itand you said a lot during the interview.
The importance also of constancy is notyes, yes, yes, yes,

(45:52):
and, moreover, to be clearthat as long as you try to
give everything and do everything you can, well, you can' t feel
guilty either. Yes, at somepoint, it' s too bad we
couldn' t get to such aplace and to such a place. In
the end, I think I alwaystell the team. We must also free
ourselves a little from this fact thatsome action, because it does not have

(46:16):
the route that we would have liked. But good is that we also work
with zero as good, of course, but you get the good feeling that
you' ve tried and, atleast you' ve been there. No.
Yeah, yeah, yeah, yeah. Moreover, in this case the

(46:36):
thanks of the associations are very clearand very clear and we are very pleased
that you tell us nothing. Idon' t know what. This is
the other thing and this and nowit' s going to have said the
book that I bought the other daywe were talking about it before, that

(47:00):
I' ve already started and Ilove to tell us about your second big
project that you' re also veryproud of how it arises and, by
the way, because it' scalled episode two. He or she kills
episode two is a good question.It started as a good blog. It
started as a blog. The blockopened it so I wouldn' t forget

(47:21):
things I thought. But you knowwhat you sometimes think, but then you
don' t point them at themyou forget or you overdo them. I
say see I have to have aplace to go over these things. And
it' s not that I don' t miss it anymore. Not good.
I started with the block and soand then the blog in a very
organic way, but totally organic.He began to grow and began to have

(47:45):
lechlores and without doing anything, thatis to say in plan or published,
published the post and put it,put it on Twitter and on Linkedin and
that' s it. They didn' t do anything else and over time,
that grew it a lot and tothe point that it started to be

(48:06):
read, because in Europe Latin AmericaI don' t know what I say
my mother, but this, thisis not by a tube and then I
started to spin it the same way. This yes, which can be converted
into a book. Then I contacteda Sargantan publisher who are from Valencia and

(48:32):
as you see it is a totalman, yes, yes, this is
a clear book, the only thingthere is. You have to structure it
a little because it' s likeI was putting what I could think of
there Come on Blood. All thatrequires having as a structure. So,

(48:52):
well what the work once in theeditorial said, but we or we published
it, we saw it once waswhat the topic was structural, you will
eat it, now, like somechapters as very clear, but at first
they were not. They weren't there at first. It was like
everything crazy there you see I'm talking about this or that, but

(49:13):
it wasn' t structured. Butreally then it was seen that yes,
that there was a structure that was, well, thoughts in voice, high
people, currents, nothing, currents, famous, infamous, the romantic max
bet. And then, with thosestructure that' s when I saw it
I saw it really clear, Isay oysters with that structure. I do

(49:34):
see it because a little bit,that is, putting together reflections without any
structure, because it kind of didn' t work. But in this way
I see it quite clearly. Andthen, well, what happened that there
is an episode one that without structureand that edited it an edition from Aragon

(50:00):
a little because they like me,come on, let' s edit and
I don' t know what,because at that time we were setting up
an advertising congress in Monzón. Okay. That was crazy, because we were
going to Monzón, Luis Basha,Pablo al Zugara, incredibly well- known

(50:23):
people and so on Monzón. Well, my partner' s from graus.
Yeah, yeah, yeah, wewent through a lot of graus and graus.
It' s nuria, it's involved, it' s nuria
that' s good. Now liveuy darra good, but it is of

(50:47):
gra also worth if look at itI say look at it, that is
to say the same by the leivasurname sounds good to you, well.
The fact is that good a littleto coincide with the congress that we also
mounted, for example, climb tothe castle and Monzón at night and musical

(51:08):
performance concert, that is, wedid a super creative, super super fun
thing. People went through amazing andgood. Then of course what happened that
there was also in the book abit for as part of the topic.
But what happens that the publisher doesnot have the distribution, that has Sargantana,

(51:31):
already Sargantana, put it at homefrom the book. They put it
on Amazon. They try then whathappened, that stayed a little there,
didn' t stay good. Actually, I' ve got the figure.
One hundred seventy- five were sold, exactly hundreds seventy- five books were
sold from the episode yes Ja andobviously the map is not the same.

(51:52):
There' s someone who resells it, but I mean that book doesn'
t exist. But I think itwas, like saying good to put episode
of God, it was a littleremembering and that to do something, because
the road is difficult and you stillhave to make mistakes first to do the

(52:15):
best. And that was a bitof a mistake. The first error does
not structure, structure and the secondto see to think that if that editorial
does not have distribution, you willhardly get that book had. But,
well, it was an experience,I think, an experience that was cool

(52:39):
and it' s also a bit, because that, because we learn from
mistakes and next time they go todo the best. No, and I
think I' ll take that,not with those one hundred and seventy-
five books, but there it's heard, there' ll be one
hundred and seventy- five people whosee this interview and realize that it has

(53:00):
a treasure in their hands, becauseit is. Well, this is something
since it doesn' t exist,it' s true, and that it
doesn' t have dedicated yet willmeasure oysters. Of course, I don
' t have any more dedicated,I mean no, no, I'
m just thinking about getting the firstone to get it to see if I

(53:20):
follow him man, because be carefulthat he still has some go and nail
you doesn' t say I payit back for 80 euros. Well,
you never, never know, buttoday I love and hear why the stereotype.
Well, because, obviously, andI want to ask you a very
curious question, why one of thejafas is a circle and the top square.

(53:43):
Okay. That' s one ofthe things that are part of my
personality. I know when I wasgoing to a conference, especially the most
serious ones, it' s notworth the marketing directors. That kind of
thing and that was always going withmy glasses like exactly one round, one
square and red, and that wasa lot of attention, a lot of

(54:05):
attention. And so I say well, as long as I have a lecture
of this kind, I' mgonna put on, I' m gonna,
I' m gonna put on theseglasses. And a little that'
s why he stayed as part ofmy personality, not because people always said
that. That gentleman who came inwith those glasses and I don' t
know what, I don' tknow how many didn' t shoot your
name, but your glasses. No, they don' t remember me,

(54:27):
because, as is so, sorare ri Yes, well, well,
they remembered, but yes, yes, the one with the glasses, not
the one with the glasses. Anda little bit, well bo was why
not and then, as good asit should also be said that it'
s cover, it' s wonderful. She has made him, an alumni,
a student of mine named Andria Nicolásand that I think he asked very

(54:51):
well for the essence of everything andsince it is a cover that attracts quite
the attention. It' s simple, it' s a lot, it
' s super simple, but it' s very pretty. Besides, that
typeface as it is is yes,yes, the truth is it' s
the girl. It' s agood face, and extallicism kills me.

(55:13):
It is because, for the samereason that we have also commented before,
there are a number of things thatwe take for granted that they are not
really and our daily life is fullof stereotypes, for example, starting from
men they do not cry that Ido not know how and then, well,
it is not all our life isfull of stereotypes that we should not

(55:38):
accept as true. But a lotof people, that is, people who
say no to you, they don' t want to be crying at all,
but well, it depends and theyalso want to laugh. I guess,
I don' t know, butit' s like the handwriting with
blood inside and without blood too alittle bit is the question of saying why

(56:05):
we' re accepting and perpetuating thingsthat are no longer true. It'
s a turn of Turkish to theSpanish proverb, yes, and phrases that
are neither sayings, yes, butthat are there. And in the end,
the essence of the book is whatwe have discussed before. And this
is so much easier for you toget so complicated I mean, in the

(56:27):
end it' s all so mucheasier. It' s all a lot
simpler and I know, I don' t know. There are many things
that we don' t value,for example, details or gestures, or
I don' t know that welose our day- to- day consciousness

(56:49):
and we' re always focusing on. I have to do this, I
have to do those, well,but today, what are you going to
do? Today, what are youdoing? When you walk, you really
look at what you' re lookingat or not, look at yourself or
don' t look at anything.You' re on your cell all day,
so you miss a lot of things, that is, when you'
re eating you really need your cellphone or you don' t need it.

(57:09):
I don' t know how you' re all going to be things
that in the end you realize thatwe' re very mechanical that every day
more or less we do the samething. I think that' s okay.
I don' t think so.I believe that and other things that
I demand are looking for moments foryou, for your reflection, for your

(57:29):
payments. And it can' tbe good. I' ve got time
per image and so to see halfan hour. You always do. Find
in half an hour in a dayto have that time to say well,
because now I apece such a thingand I do that already as ritual.
I mean, every day I tryto have at least half an hour to

(57:53):
sit down and listen to music,but not to introduce myself or not to
be there a background music. Andjust so I don' t sit here
and listen to music, and itbrings me a lot of how you operate
through the background that I have here. Yeah, actually, a few.
In fact, it was my nextquestion, what does it matter that seeing

(58:17):
your office fund and so on,how important you were to the music,
that is, me. For me, it' s absolutely terapheutic. It
relaxes you, it encourages you tolisten to music, because usually I sing
only dance gives me a lot ofmusic, but also when I see music

(58:39):
in direct, as my friends saythat if they transform you from transformation,
because you get so into the concertand everything. But not according to this,
there are many times with which therewas a concert. I' m
going to ask for autographs not andwith the luck that of course a gentleman

(59:04):
comes there, not a groupie ora groupi comes a gentleman there. To
ask for a signature, because normallythey say ah well, yes, because
we will not sign you. AndI have a few tas, I have
a few super cool dedications, becausepeople keep watching me where it goes,
where it goes. Not this one, because I' m going to go
to the stage not the same witha notebook or with a cardboard or whatever.

(59:27):
I' ve had a good timeif it' s in English,
but I tell you I' munique, but in the end and of
course, I usually get signed again. I usually sign and well, for
me it' s like a trophyno, well, look I have as
a part of this room is dedicatedto dedications. It' s the board
you got there that looks like tickets. Well, this is the ticket board.

(59:51):
And then to the right there's a column. Yeah, they
' re dedications. Okay, okay. I also collected a lot of all
the concert tickets that went and stuff, and it was a move. They
got lost and so on. ButMira missed dedication and so on. But
listen I' m glad that thetheme of music is important and in the

(01:00:14):
book of More it is noticed thatalways in something you evoke some song or
some other group that this is oneI always have it in my head and
I also like to share people thatso well known and that no one knows
who. It' s or alittle familiar that I like the way you

(01:00:35):
look. There is a Japanese pyamistnamed Mitchi Katsui, and I say who
is, because she is, listento her. I don' t know
what there. I like it verymuch in exchange in general, in exchange
in general and in music very much. And besides, I can tell you
that I can hear everything I mean, no, no, I never say

(01:00:59):
no, it' s not thekind of music. I don' t
hear it and so and I hearit all with the students always send me
things and listen gives and I alwayshear everything, and I can say that
I like everything I mean, I' m not the typical way I paint

(01:01:19):
that not let Zeppeling, that yes, that I like but I hear everything,
that is, Taylor Sweet, everythingthat can sound now I like.
Anything that sounds, anything to see, anything to see now in the end
looks at what you think of reggaeton, because I, reggaeton do not like
anything. I mean, I don' t like it, I don'
t like it. But then astudent who was from Santo Domingo did and

(01:01:44):
told me to show you the reggaeton, well, that' s not the
one you usually listen to. Andso and so he taught me some groups
there that well, they made areggaeton like pretty cool without lyrics, as
well as, they have done aftermachos. And so, and the truth
is, I liked it, whichis what you look at, or not

(01:02:07):
to see. Now here I havea lot of music and there is none
that is reggaeton, that is,you have to recognize it, but well,
except this, there are of allstyles, of all styles. I
especially like the sul a lot everythingthat it is to merge south, for

(01:02:31):
example, rimming on, blues,yes, hip hop, funk, everything
is on disc. I like itand then I' m influenced by my
father. I like jazz a lot, but I especially like fusion, i
e jazz, fused jaz. Thatpurists say not now there is fusion nothing,
that it sucks, no, butto me you have already worked.

(01:02:52):
I quite like it I have heard, but you try that in all your
advertising or whatever, there is music, because to me, for example,
I love it and it freaks outthe cinema. I see it super as
soundtracks have a huge influence on allfeelings. Then extrapolated music to advertising is
something very powerful. I would saythat in general, advertising soundtracks are very

(01:03:19):
topical, so they are very similarall of them and occasionally there is some
exception, for example, Andallashancrashe whichis a tourism campaign andalusia that itself is
a wonderful soundtrack, super worked,with effects like in the cinema. I
always say that in the end youhave to try to look like the cinema,

(01:03:45):
because the soundtrack of the Simple isvery worked. But let' s
say it' s hard to seeexamples like Mandallason Cross Coop I did,
a soundtrack that I really like togo out, which was like a mix

(01:04:05):
of effects too and maybe sometimes mystuff. But in general I see everything
as very flat, as everything asvery and that is also of my great
obsessions and I have given the musicand publicity in Pompeou and Fabra Vale and
always claim that we can do betterin the Sonoras band section. We can

(01:04:28):
do better. Look, sure,good. The truth is that now,
with all the things there, I' m sure you can always do a
little better. Yeah, yeah,yeah. I think sometimes we forget that
the Sonora band transmits it totally asyou said, the emotion in the feeling
and we think it is like acomplement, but it actually has a lot

(01:04:50):
more power than you imagine. No. I think it is, which is
fundamental and can change a lot withone music or another totally like that.
Look, I was thinking about thesounding band of doom that the truth is
that I saw the two of themAnd for me, it' s that

(01:05:12):
I get the skin of a hen. Just seeing the images with the sound
this, which is so characteristic andso many others that they' ve achieved
there, well, yeah, whenthat' s really thought out. There,
for example, a bardem movie thatmakes killer, yes for old people,
yes and that doesn' t soundmusic. It' s like you

(01:05:33):
' re totally pissed off,'cause there' s no music in that
movie. Of course it' slike and that' s totally intentional,
of course it' s going todo totally intentional. Or when the tarantino
puts you a cop torturing so andthey put you a good music, there
that is super and you say shitis that they don' t break you

(01:05:56):
the schematics totally are thought, itshows, it shows, Baspantre. All
right, then nothing. Richard,we' re going there for a while.
Now the people are going to bevery clear. Tell us where you
can find nets whatever you want,book, etcetera. Your advertising moment or

(01:06:19):
better said good on Linkedin Richard Wakefield, on Instagram, be Richard Wickfield,
because it' s a nickname thatthe students gave me and I was very
funny. And I say well,then be Sir Richard Wickfield. And well
and the book Amazon House of thebook, they are the two easiest to

(01:06:42):
find. And, well, likewith this last name, I guess it
won' t be complicated either.Besides, I' m always a person
who tries to care for everyone,so I don' t, if you
write me a person who' sgood I' m not, I don
' t know what I' mtalking about and I don' t know
how many. Listen, we talked, because we talked about it already delighted,

(01:07:04):
I don' t mean, I' m not the typical one that
I don' t answer. Ialways try to answer all the emails or
whatsapps, everyone who writes to me, I try to answer. So,
well, nothing. That was goodand good and I give fet that it
was telling you hey come on,you, of course here talk a ratty

(01:07:27):
and see what comes up, so, Richard, we stayed a ratty,
you and I talking for a secondand I was glad to have you here.
I really liked the talk, andI hope he says he likes it
and that, above all, hegets involved a little bit more. Yeah,
I hope so. Thank you verymuch. Nothing, nothing a pleasure.
Eh Chao da Chao