For a lot of creatives, the Super Bowl spot is the Holy Grail, the pinnacle, the showcase where you can either make your mark and launch into a career arc filled with money, location shoots, media girls (another time) and a title too long to fit on the puny business cards you'll never carry.
Or it can be a spectacular flop seen by a billion people and sink you faster than the Quizno's Spongmonkeys—which by the way I think is awesome and one of my favorite commercials ever. Call me crazy, but I admire the bravery of it all. Just try not singing the tune after you've seen it.
I know, right?
Anyway, there are a few rules about the annual Super Bowl assignment that seem fairly universal no matter what agency you're at. First is the freelancer's spot never gets chosen, even if it does. No agency hands the biggest boondoggle and budget of the year to the freelancers to produce. And if their spot is picked, it's—take your pick: refined, evolved, massaged—just enough for them not to be able to claim it as their own.
Next, you would think that since the date of the Super Bowl is known over a year in advance, agencies would give themselves enough lead time to concept, sell and produce the spot they really want to make. Not so much. Virtually every agency starts working on their Super Bowl spot late in the game. Then it's a mad rush to meet the goal, with everyone hoping they don't fumble.
Ok, I'm done now.
Finally, just to prove God does have a sense of humor, it's almost always the team who couldn't care less about sports who has the winning spot. Then they have to go through the entire ordeal, pretending they're interested in the game and that they have a favorite team.
Sometimes, even though it's a score (sorry) to get your Super Bowl spot sold, it takes almost more than you can muster to get motivated to see it through.
But to quote Don Draper, "That's what the money's for."
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