Thinking Big with Micah Walker

When it comes to Bear Meets Eagle on Fire, the studio that promises to ‘help good people and brands think and make things differently’, its founder Micah Walker, who opened the agency’s doors back in 2019, is almost apologetic about its distinctive name. 

“I wish there was a better story, but it’s something I’d done some side work under years ago, so it just felt right. At its simplest,” he adds, “it positions us as something not like other things, which is a good start. Then the proof is ultimately in the work.” 

That work includes a series of brilliant and funny spots for Telstra, helmed by APAC Director of the Year Jeff Low. “We also have a new client, Bankwest,” adds Walker, “and we have some lovely work that comes out in the new year for them.”  

We call ourselves a thinking and making studio, rather than an agency.

When it comes to looking back to where it all began, for Walker it was a case of “stumbling into advertising after studying design and visual communication.” While he grew up and started off in the US, he’s spent most of his professional life on a global stage – working in Asia, Europe, London and Australia. “After coming back to Australia from W+K in Portland, I knew it was going to be hard to find a place with similar standards and creative culture. So I found myself at a bit of a crossroads. My wife, who has a wonderful business of her own, just said, ‘start the place you want to work’, and as usual, she gave me both the confidence and kick I needed.”  

Here, he talks about the creative culture at Bear, his experience of working globally in the industry, the strength of the work across the APAC region, and takes a look at what the coming year may bring its creative industries. 

Describe the creative work you’re doing at Bear, and the kind of culture and creative ethos you foster there? 

We call ourselves a thinking and making studio, rather than an agency, but that can sound a bit contrived, and the reality is more specific. We sit at the intersection of all things brand – from brand creation and design right through to more advertising-shaped projects, so at even given moment we might have a packaging or brand design project or a big campaign going at the same time. We love them all equally. 

I do think a culture built around anything other than creativity and making better things is a waste of time.

We’re at our best when creativity is most valuable – so creating, setting or defining a brand or it’s enduring idea and then bringing that to life with a level of craft and care. We care harder, which again, might sound a bit trite, but I believe it’s true and we’ve built the business around that. 

I do think a culture built around anything other than creativity and making better things is a waste of time. I hope Bear is a place where you can care hard and genuinely feel challenged and supported to make better things. That means it might not be for everyone, and I’m perfectly okay with that. I certainly don’t want to be everything to everyone, so finding the right people is really the key to it all. You can’t teach people to care and alchemy is everything.  

You’ve worked in the US, UK, Europe, Asia and Australia – what differentiates these territories in terms of different approaches (and outcomes) to creativity? 

There are certainly differences in taste, tone of voice, approach, culture and ways of working. I always think of the UK, London specifically, as a more reductive creative culture in terms of ‘the idea’. There’s a real focus for clarity on that up front. 

In the US, it’s a bit more executional and additive, so the rigour or even definition of the idea is more performative. I think there’s also an easier relationship with ‘selling’ something. Americans are more comfortable being sold to if it’s delivered in an unexpected way, whereas people in the UK find it a bit crass. These are generalisations, but they reflect my experience. 

Americans are more comfortable being sold to if it’s delivered in an unexpected way.

I don’t think you’d have ever made Sony Balls in the US. Old Spice, and that kind of overt commercial comedy is something I don’t think would’ve been made in the UK. So again, it’s not that one is better than the other, it’s just different. European work varies market to market unless you’re working on something as a regional assignment, and Asia is, again, just very different all together – Japan, Thailand, Hong Kong, all very, very different.  

One thing I love about Australia is that, at its best, it’s kind of mix of all of it.  

How would describe the current creative climate in Australia and the APAC region? 

I think it’s been a tough year for most. There’s a lot of change and uncertainty happening and I think that’s had an impact on the kind of work you see getting made. 

I think it’s been a tough year for most.

There are some solid standouts being made, but most of what you see feels over-rationalised and hovering around safe spaces. 

What is the impact of winning shots APAC Agency of the Year? 

Any time your work is recognised you feel humbled. We’re proud that all the care and hard work is being noted and it’s a real honour. We haven’t celebrated yet, but we will.