Love Our Work: Ricardo Roberts on Sam Gainsborough’s Kaleidoscopic Paralympic Dreamscape

Towards the end of last year, two Australian agencies (Paper Moose and Innocean) joined forces to launch ‘Love Our Work’. The idea, a brainchild of Paper Moose’s creative director Jeremy Willmott and Innocean CEO Jasmin Bedir, was to inject a welcome dose of positivity into the way the industry talks about itself. 

Folk were invited to celebrate the work which inspired them and truly left a mark - fostering a sense of shared pride and an environment where all creatives and makers feel seen and valued. Inspired by the initiative, LBB is now taking ‘Love Our Work’ global. We want to hear from anyone who’s been inspired by the creativity of others. 

Today we hear from Ricardo Roberts, BIEN’s co-founder and executive producer. As part of the buildup to this year’s Paralympic games in Paris, adam&eveDDB NYC collaborated with director Sam Gainsborough for a film which took heaps of idyllic inspiration from the French animation icon Sylvain Chomet. 

Speaking with LBB, Ricardo explores the artistry of ‘The Paralympic Dream’ and how curiosity invariably drives the most impactful creative work… 

LBB> Ricardo, why do you love this particular piece of work? 

Ricardo> This piece is fire. It's gorgeous to look at, but it's also got this cleverness that makes you pay attention. There's a subtle satire at the top, the kind you might miss if you're not paying close attention. And that unexpected kick to the gut 39 seconds in? Damn! 

The sudden switch to live-action is genius. I particularly admire how the Paralympics campaign embraces authenticity, highlighting the raw intensity of para competition – the triumphs, the heartbreaks, and everything in between.

LBB> More broadly, what makes a piece of work great in your opinion?

Ricardo> For me, greatness lies in the unexpected. It's a piece that surprises, visually captivates, aligns seamlessly with the brand, and serves a larger strategic purpose. 

In the realm of 2D animation, I'm drawn to thoughtful transitions, quirky characters, unexpected narratives, and of course, inclusive motion design and illustration that resonates with a diverse audience.

 

LBB> When looking for inspiration, do you believe it is important to search outside of your own team? If so, where do you find it?

Ricardo> Absolutely. We're always checking out what the top studios around the world are doing, but inspiration comes from anywhere. Travel, museums, even chatting with people in other creative fields – it all feeds the beast. You've got to get out there and see what's happening in the world.

LBB> How do you hone your own creativity, and how do you foster the creativity of the team around you?

Ricardo> The main driver of creativity, in my view, is curiosity. Always be learning. Always study great work, and study the masters. Never be complacent. Look at previous projects and think about what you could do better and differently the next time. Do passion projects that excite you. Force yourself to get out of the office and have fun. You can choose the definition of fun, but be sure to have some.

LBB> Lastly, what does creativity mean to you?

Ricardo> It means constant expression, constant output and being unafraid to create. Once we let go of "is this good?!", we're sort of freed from our self-induced constraints. In other words, make shit, a lot of shit, and push yourself to improve every time. You'll fail a bit, but probably less than you might expect.