You'll probably win the pitch.
Here is the script:
Joe Harriman (Kodak's staff): So, have you figure out the way work the wheel into it?
Lynn Taylor (Kodak's staff): We know it's hard because the wheels aren't really seen as an exciting technology even though they are the original.
Don Draper (Creative Director, Sterling Cooper Advertising):Well, technology is a glittering lure. But there's a rare occasion when the public can be engaged on level beyond flash, if they have a sentimental bond with the product. My first job, I was in house at a fur company. There's an old, pro copywriter, a Greek named Teddy. And Teddy told me the most important idea in Advertising is "New", creating an itch. You simply put your product in there as a kind of calamine lotion. He also talked about the deeper bond with the product. "Nostalgia" - it's delicate, but potent. Teddy told me that in Greek, "nostalgia" literally means "the pain from an old wound". It's a twinge in your heart far more powerful than memory alone. This device isn't a spaceship, it's a time machine. It goes backwards, and forwards... it takes us to a place where we ache to go again. It's not called the wheel, it's called the carousel. It let's us travel the way a child travels - around and around, and back home again, to a place where we know are loved.
I'll talk about this drama, "Mad Men", couple days later. This drama series may be the best one I've seen this year.
後記：
我補上了一些台詞（反覆聽了好幾次才寫出來，若有誤歡迎指正），從Don Draper提到「Nostalgia」之前的部份。開頭那兩位，client's stereotype，Joe Harriman跟Lynn Taylor，是柯達（Kodak）的人，應該是行銷部或產品部門之類的頭頭，也順道把他們的台詞補上。
一些心得：
產品導向的公司所認為的產品利益，比如戲裡那部slide projector的「輪子」（the wheel），通常跟消費者利益八竿子打不著。柯達的Harriman說「有沒有想到什麼方法可以把『輪子』帶進來？」，而Taylor則說「這『輪子』看起來不起眼，但它確實是創舉」，這兩者的發言都是非常明顯的例子。
廣告公司的核心技能則是「站在消費者」這一端思考，這是亙古不變的真理（永遠不應該忘記的）。Don Draper一開口就說「科技是一種眩目的誘惑」，但重點，重點是在產品與消費者之間的「情感聯結」（sentimental bond）。
Don Draper把幻燈片投影機的功能與特點（那「輪子」），轉變成消費者自身與過去記憶之間的中介，並賦予這部機器「旋轉木馬」（carousel）的名稱。不論消費者是否坐過旋轉木馬，他們的記憶中總有某個片段是以遊樂園的格式出現，而遊樂園中總有一座旋轉木馬（也不論其豪華或破舊的程度）。廣告公司藉由這部時光機（time machine）引發某種懷舊感（nostalgia），「creating an itch」，消費者因而掏錢買單。不論創意點的來源與形式，「產品與消費者之間的關係」是永遠無法忽視的議題，六零年代如此，現在也是如此。
至於這部戲就之後再談。它畢竟是戲劇，不太可能每一集都有如此令人感動的提案場面，這戲出現最多的大概是沙豬行徑與情慾片段，以及當今無法想像的意識型態（而且這戲的步調有點緩，跟一般美劇有些不同）。還有，戲裡的道具、佈景與服裝造型也非常忠實反映了那個年代的氣氛。是部好戲就是了。
