São Paolo’s AlmapBBDO once again asserted its credentials as one of the world’s very best, taking the top spot in the L[A] agency rankings last year. We checked in on agency Chief Creative Officer Marco Giannelli, better-known as Pernil, to find out that his secret sauce of success includes a mantra taken from 19th century English writer, Rudyard Kipling.
L[A] Congratulations on topping the global agency Rankings once again at Lürzer’s Archive! While we at L[A] obviously value assessing and celebrating creative standards, what do industry honours and awards mean to you, your team and your clients?
P I always see it as a huge boost for everyone involved in the process. Besides the agency and the clients, I’d also highlight the production folks — the ones behind the photograph, the film, the beautiful soundtrack. Awards help shine a light on the work and on the people who made it happen. And it’s interesting how even a local campaign, one that might never have been seen outside Brazil, ends up being known and admired worldwide because of these recognitions. Our VW 70-year anniversary campaign with Maria Rita and Elis Regina singing a duet thanks to AI is a great example of that.
L[A] How have you managed to build and maintain such a strong creative culture at the agency?
P It’s something you build every single day. Almap has always had solid foundations, with creativity as one of its core pillars — something Marcello Serpa and Luiz Sanches built over decades. But in an increasingly fast-paced world, it’s easy to drift away from that without even noticing. That’s why I see it as a daily battle — one that involves the entire agency, not just the creative department. It’s about making sure everyone, from the intern to the President, feels driven to put a creative piece out into the world. That’s how we keep the agency’s legacy alive.
L[A] Does this involve a lot of continuity in your team or is there a process of constant change? Are your creatives mostly on staff or is there a strong freelance element?
P Historically, Brazil hasn’t had a strong freelance team culture, like the UK, for example. But in recent years, that’s been changing, which works well for project-based agencies. In our case, since we often handle full communication for our clients, the vast majority of our creatives are full-time staff. That really helps maintain the agency’s culture, deliver excellence, and also contributes to people’s recognition and growth.
Pernil's recent AlmapBBDO highlights
L[A] Is there a work culture to be in the agency offices or, like many agencies post-Covid, do creatives now often work from home, etc? What do you prefer as the best way to work in a creative department?
P After the pandemic, it became clear that a lot can be done remotely. We don’t have a fixed number of mandatory in-office days. But what I’ve noticed (and seen up close) is that the creatives who come in more often are usually the ones who grow faster. They understand the culture better, are more in tune with what’s going on with the clients, and as a result, deliver stronger creative solutions, even for proactive work. I believe the earlier you are in your career, the more essential this face-to-face exchange becomes. Of course, there are exceptions. Some people work incredibly well remotely. And at the end of the day, what really matters is the work.
L[A] How has Brazilian advertising changed — for good or bad — in recent years? How would you say it really differs from other countries’ output?
P I think we’ve always been trained to find ways and creative solutions even when resources are limited. Brazilians are naturally creative, focused, hardworking people — and that shows in advertising too. Just look at the number of Brazilian professionals making a name for themselves around the world. Today, I see Brazil as a market that’s grown a lot. For many years we were known for our visual, graphic, static craft. But now that has expanded into audiovisual production, PR stunts, and beyond. That evolution applies both to Almap and the Brazilian market as a whole.
L[A] Do you see a big change in the media mix in Brazilian advertising? Is it more or less digital than in, say, the US? Is this influencing the creative process and the nature of the creative talent and teams?
P Brazilians are heavy users of everything … platforms, social media, you name it. If we’re not the biggest, we’re always among the top three globally – not just in user numbers but in engagement, shares, comments, etc. In what other country would a film like the VW 70 Years campaign go viral on WhatsApp before a single cent was spent on media? That obviously impacts the creative process. We actually like advertising, as long as it speaks to us. And today we have a ton of platforms to do just that.
L[A] Can you describe your typical day … or the possible day (eg today) …
P The craziest part of my role today is how unpredictable it is. Sure, I start the day with a calendar full of meetings, check-ins, creative discussions, etc. But something new always comes up — a problem, an opportunity, a fire to put out. And I think that agility (and creativity) to deal with the unexpected is the hardest — and also most exciting — part of the job. That’s why I try to start my day early, get some exercise in (I’m really into boxing, for instance), and kick things off with enough energy to face whatever comes. After all, as Rocky Balboa said: ‘It ain’t about how hard you hit. It’s about how hard you can get hit and keep moving forward.’
L[A] Please share some ‘creative touchstones’ that help guide and inspire you. References you go back to regularly. This could be people, books, films, a quote, or just a behaviour, such as going to the cinema, playing the guitar … whatever you care to share.
P I grew up in the 1980s, the golden age of Washington Olivetti's commercials, the brilliant writing of Luis Fernando Veríssimo (a genius Brazilian columnist), and later on, the films of Woody Allen. Those were the references that shaped me — and I still love going back to them. Today, professionally, there’s a quote I carry as a mantra. It’s written above the entrance to the Centre Court at Wimbledon: ‘If you can meet with triumph and disaster and treat those two impostors just the same.’* To me, that sums up our line of work: you can’t think you’re a genius just because you won a Grand Prix at Cannes, and you can’t feel like a failure just because a client killed an idea you loved.
L[A] You have won a tremendous amount over the years. What goals do you still have for AlmapBBDO in its creative output?
P For me, the biggest challenge is keeping the creative bar high and honoring the legacy of this agency, which is truly an icon and not just in Brazil. It’s a huge responsibility. And you can’t meet it by sticking to the same formulas of the past. The only way forward is to use the foundations built over decades to create something new, while staying true to the beliefs that have always guided the agency.
L[A] What’s the question we should have asked but haven’t? What might really surprise people about you or Almap?
P Maybe it’ll come as a surprise, but I actually have a really hard time (and a bit of shame) doing interviews. I always feel like I don’t have anything truly new to add. The fact that I took so long to get back to you with these answers is proof enough, even though I admire your work a lot. So … sorry for the delay.
*A line taken from the poem If by Rudyard Kipling (1865-1936). Coincidentally, Kipling was also not at all keen on being interviewed.
Pernil's cherished masterpieces
