Lions Daily News - Late Edition 23 June

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CANNES LIONS 70

FRIDAY LATE EDITION JUNE 23 / 2023

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CANNES LIONS 70

FRIDAY LATE EDITION JUNE 23 / 2023

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Leon is Dead. Or is he? Top film prize goes to Apple iPhone spot APPLE’s campaign ‘Relax, it’s iPhone – R.I.P. Leon’, released in January to promote the iPhone 14, is winner of a Film Grand Prix for 2023, one of two awarded this year. The Grand Prix was awarded by a jury headed up by Bruno Bertelli, global CCO of Publicis Worldwide.

The ad focuses specifically on the phone’s ability to unsend and edit messages, employing its iOS 16. The 40-second spot begins with a shot of a pet lizard, Leon, who appears to have passed away. The lizard’s entrusted guardian messages the owner with the sad news.

The message reads: “I messed

song picks up the rhythm — Leon suddenly comes back to life. Thanks to Apple’s new software, his carer is able to quickly unsend the message and return to looking after up … Leon is dead.” Leon’s accentuate his anxiety as he the pet. carer is devastated and, in the texts Leon’s owner with the The film closes with the line: background, the slow chords fatal news.

“Relax, it’s iPhone.” of Alive by Hanni El Khatib The message sent — as the Produced by Biscuit Film LA for TBWA\Media Arts Lab Los Angeles, it is directed by Andreas Nilsson, the talent behind the Old Spice ‘Hang On’ spot.

Another film in the ‘Relax It’s iPhone’ campaign, iPhone 14 ‘Action Mode’, won Gold. The film focuses on the phone’s ultra-wide lens that can capture video with extraordinary stabilisation, as a mother runs to get a shot of her child in a running race. The commercial ‘RELAX, IT’S IPHONE says: “Shaky camera… smooth – R.I.P. LEON’ video. Relax, it’s iPhone 14.”

Do we really know what suicidal looks like?

THE SECOND Film Grand Prix went to ‘The Last Photo’, a UK-wide campaign for the Campaign Against Living Miserably (CALM).

People think they know what suicidal looks like: crying, anger, despair. If we don’t see those signs, we don’t intervene.

With 125 people in the UK taking their own lives each week, Campaign Against Living Miserably (CALM) and ITV, the UK’s largest commercial TV station, took on the task of highlighting the fact that a suicidal person won’t always be recognised as such.

FILM GRAND PRIX WINNER ‘THE LAST PHOTO’

Adam&eveDDB worked with the two organisations to create ‘The Last Photo’, a campaign that started a national conversation aiming to empower the UK to help prevent suicide.

Those who are struggling with suicidal thoughts might in fact appear happy and successful. So CALM and adam&eveDDB installed an exhibition of photos of smiling people on the South Bank of the River Thames in London. After several days it was revealed that these were the last images taken of people who went on to die

by suicide.

The exhibition was accompanied by a 90-second TV commercial, which launched on ITV’s This Morning news and magazine programme. The spot features home-video footage that also shows seemingly happy people enjoying life, playing with children and making jokes, before it is revealed at the end that soon after the imagery was shot, they died by suicide. A broader integrated campaign also appeared in print and social, with CALM’s ambassadors, brands and partners delivering wider content.

EMERGENCY CALL CAMPAIGN WINS GRAND PRIX FOR CHEIL ‘KNOCK Knock’, the Korean National Police Agency’s campaign to help victims of domestic violence, has won the Grand Prix in the Glass: The Lion for Change category.

Created by Cheil Worldwide, Seoul, this “silent emergency call” was inspired by Morse code and designed to offer people trapped in situations in which they cannot speak out loud to communicate with the police.

Victims of domestic violence, dating violence and child abuse are often in the same space as the perpetrator and so cannot openly call for help – a situation that worsened as a result of the TURN TO PAGE 3

‘KNOCK KNOCK’ WINS THE GLASS: THE LION FOR CHANGE GRAND PRIX

www.costaricafilmcommission.org or FilmCostaRica@procomer.com

NEWS

EMERGENCY CALL CAMPAIGN WINS GRAND PRIX FOR CHEIL, CONTD. restrictions imposed by the COVID pandemic.

The system, which was introduced to 4,800 police call handlers across South Korea, means that callers to emergency line 112 can tap any number on their phone keypad twice to trigger a link being sent to them. This link allows the police to track the caller’s location and even monitor them via the phone camera. Callers can also communicate with the police via an interface disguised as a Google search page, to avoid arousing suspicion.

“Through the ‘Knock Knock’ campaign, we hope our silent 112 police emergency call system becomes a sustainable solution in which any citizen in danger can reach out to, and any police officer can quickly respond to,” a Korean National Police Agency (KNPA) official has been reported as saying.

Cheil Worldwide worked closely with the KNPA to refine the service after feedback from 112 situation rooms.

The initiative launched via the Korean government’s official blog and YouTube channel, and widely publicised through OOH media. After the campaign launch, a total of 5,749 links were dispatched to people in emergency situations.

This is Cheil Worldwide’s second collaboration with the KNPA, the first being a 2020 campaign to find long-term missing children.

The Glass Lion jury was led by Tea Uglow, creative director at Google APAC.

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Charles De Gaulle airport rebrand collects the Grand Prix for Good HAVAS Paris has won the prestigious Grand Prix for Good with a bold, imaginative and inspiring project to raise the profile of the Anne De Gaulle Foundation, a private hospital set up by France’s former leader, Charles De Gaulle in memory of his daughter, who had Down Syndrome and died at the age of 20.

Despite providing residential care and support for people with neuro-developmental conditions for more than 75 years, the organisation was suffering from a lack of public awareness.

The Havas campaign focused on an enduring international landmark commemorating one of France’s most prominent structures:

Charles De Gaulle airport in Paris. In a striking, temporary re-branding, the airport was renamed Paris-Anne De Gaulle airport.

The high-impact move saw the building’s new identity was mounted in giant lettering on the iconic façades

of each terminal. Every advertising display, all flight information boards, baggage reclaim screens and even road signs around the airport showed Anne’s name.

The week-long spectacle, which dramatically turned the spotlight on the Founda-

THE RENAMED PARIS ANNE DE GAULLE AIRPORT

tion and its work, was timed to coincide with the World Health Organization International Day of Persons with Disabilities on December 3 last year.

The Havas team outlined the huge challenges involved in rebranding the world’s sixth-busiest air hub, the main one being to seamlessly and successfully transform a public space used by more than a million passengers per week.

“We had to build an experience capable of fitting with the airport’s extremely complex environment and multiple constraints,” they said. “Our message had to be delivered without impeding on passenger information or compromising security.”

‘First Digital Nation’ takes Titanium THE 2023 Cannes Lions Titanium Grand Prix has been awarded to ‘The First Digital Nation’, entered by The Monkeys, part of Accenture Song Sydney, on behalf of the Government of Tuvalu.

With rising sea levels threatening its very existence, the low-laying Pacific nation of Tuvalu has embarked on an extraordinary journey to become the world’s first digital country.

By embracing the metaverse and preserving its land, ocean and culture in a virtual realm, Tuvalu is aiming to protect its heritage and history from the devastating effects of climate change.

To achieve this, The Monkeys and production house Collider Sydney is creating a ‘digital twin’ of Tuvalu, capturing as much of the nation’s cultural heritage as possible by mapping, recording and preserving his-

THE MONKEYS’ ‘THE FIRST DIGITAL NATION’

torical documents, cultural practices, family albums, traditional songs and other aspects of Tuvaluan culture.

Simon Kofe, Tuvalu’s Minister for Justice, Communication and Foreign Affairs, unveiled his country’s digital initiative during the UN COP27 Climate Change Conference last November.

Addressing the summit via a speech delivered from the metaverse, Kofe said: “As our physical land vanishes, we are left with no alternative but to pioneer the concept of a digital nation.

Islands like ours cannot withstand the rapid escalation of temperatures, rising sea levels, and droughts.

Therefore, we will recreate them virtually.”

The initial phase of the project entails creating a digital replica of Teafualiku Islet, the smallest of Tuvalu’s nine islands. This

virtual representation will serve as a cornerstone for the broader digitalisation effort. The Monkeys also helped Tuvalu create a dedicated website to showcase the project’s progress. The website also features live updates of time, tides and weather, while a ticker on the side displays a menu of the sights, sounds and stories that Tuvalu is endeavouring to preserve online.

A prompt at the bottom urges visitors to ‘save the real Tuvalu’.

“This is such an important project and collaboration and one where digital transformation and storytelling sit at the heart,” Tara Ford, chief creative officer of The Monkeys, told Branding Asia.“It’s an ongoing undertaking, signaling a new and sobering chapter in a world facing the realities of climate change.”

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NEWS

Pivot’s Swisher and Galloway target Twitter, Musk and Meta

NEW YORK-based Vox Media journalist Kara Swisher and NYU Stern marketing professor Scott Galloway brought their no-holds barred style of business commentary to the Cannes Lions International Festival of Creativity on Wednesday, recording a live edition of their popular podcast Pivot from the stage of the Debussy.

With Swisher in the role of question master, Galloway was given licence to rampage through some of the current topics preoccupying the conjoined worlds of tech and advertising. His most cutting remarks were reserved for Twitter, which he accused of lacking civility and fostering a “culture

KARA SWISHER: TAKING NO PRISONERS

of cruelty” in the Elon Musk era. His advice to marketers? “Don’t spend money on the platform — go somewhere else.”

Apple’s new VR headsets also attracted Galloway’s ire, as did Meta’s alleged failure to protect teenage girls from toxic influences.

Asked who might benefit if TikTok is banned in the US, he predicted “value transference to Meta and Snapchat”.

Both Swisher and Galloway professed themselves to be AI advocates and urged Cannes Lions delegates to get to grips with the tech. “People won’t lose their jobs to AI,” Galloway said. “They’ll lose them to people who understand AI better than they do. Younger people

AI will become ‘a thought partner’ THE DEBUSSY theatre was overflowing with attendees keen to get the latest insights on the OpenAI revolution from company chief operating officer Brad Lightcap.

Responding to concerns that AI software such as ChapGBT and DALL·E — which creates images from text prompts — will make some ad industry jobs obsolete, Lightcap predicted that they will instead enhance productivity. “AI will just be another tool,” he said, comparing the innovation to the advent of PCs or CGI technology.

“We’ll have to adapt our work together,” he added.

Re p l y i n g t o s p e a ke r Margaret Johnson, chef creative officer and partner at Goodby, Silverstein & Partners, Lightcap predicted

that creatives will be “busier than ever in five years”.

Whatever concerns the creative industry has about the AI industry will be outweighed by the idea of “supercharged creativity”, he added.

While creators can struggle to start a project, generative AI tools can help to concept and play with ideas. “AI becomes a thought partner,” Lightcap said.

Goodby, Silverstein & Partners and OpenAI indeed collaborated on DALL·E project ‘Dream Tapestry’, which brings dreams to life.

Lightcap called it a “very public and visceral” way to allow users to utilise AI to explore their dreams.

In the same way, creatives can spark their imagination by allowing DALL·E to create rough storyboards

need to realise that AI is their light sabre, their bazooka.”

Swisher and Galloway believe Microsoft has positioned itself well in the emerging AI war by acquiring a stake in OpenAI. Tesla’s investment in the EV-charging structure was likened to Apple’s control of a mobile operating system — more powerful in the long run than producing EVs themselves.

Asked by the audience where he sees investable opportunities in today’s market, Galloway suggested AI-powered healthcare businesses. As for this week in Cannes, Galloway reserved a few acerbic comments for advertising (“a tax on the poor”), but was positive about the Festival itself: “It’s a wonderfully informal environment and does a great job of fostering young leadership through various events in the Palais.”

Gates predicted will have a bigger influence than the PC, is set to impact lives in diverse in minutes. Rather than tools can help to explore the and complex ways. Lightcap “staring at a blank piece “limits of your imagination”, noted that improvements of paper”, these highly Lightcap said. are being made, including advanced yet simple AI The power of AI, which Bill making AI data inputs more localised to align with different cultures and OPENAI’S BRAD LIGHTCAP: ‘‘AI WILL JUST BE ANOTHER TOOL” users. These adjustments are partly inspired by Lightcap’s current global tour to ascertain how users — from government officials to creatives to entrepreneurs — are experiencing and deploying the technology.

Another vital adjustment in the OpenAI ecosystem is to evolve the collaboration b e t we e n h u m a n a n d machine by ensuring the tools can communicate “the limits of what they are doing”, Lightcap said.

Enhancing the collaborative power of AI will, he believes, ultimately help to solve the climate crisis, or even find cures for diseases like cancer.

NEWS

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‘Weirdness has become

mainstream’ LOUIS Theroux has been telling stories for 30 years, but his fly-on-the-wall narratives of everyday life have always maintained an awkward, self-deprecating style.

The approach has endeared the documentary presenter to an ever-growing cadre of fans around the world. At home, English actor Judi Dench told Theroux in a recent interview that he was a “national treasure”.

Reviewing a unique career built on the power of an authentic voice, the quirky, bespectacled Englishman joined BBC News’ Katty Kay at the Palais II in Cannes early in the Cannes Lions week.

He described how he got his start in the US on Michael Moore’s TV Nation in the mid 1990s as a 23-year-old graduate. His “shambolic” nature and “level of incompetence” appealed to the future Oscarwinning documentary-maker. “My curiosity carried me through,” Theroux said of his interviews with fundamentalist policemen and Avon ladies trying to sell cosmetics in the Amazon.

Theroux’s blundering, everyman correspondent was established in the popular imagination when he presented the first series of Weird Weekends on the BBC from 1998 to 2000. From neo-Nazis

to porn stars, black nationalists and conspiracy theorists, he was able to embed himself in these fringe subcultures because people “trusted me”, he said.

This authenticity was coupled with an innate shyness. “I could not do pieces to camera” because it felt “very artificial”, Theroux said. For the documentary presenter, stories need to have an organic flow if audiences are going to relate. This included interviewing male porn actors in the nude in an attempt to make them feel more relaxed.

But he has also moved on from documenting “weirdness” because “it has become mainstream”. He referred to the former subjects like nationalist militias in the US that have since been legitimised by the likes of former president, Donald Trump.

“I want to tell stories that keep me interested,” he said of more recent work, including spending two weeks with prisoners in San Quentin.

He has also filmed a series of interviews with celebrities from Stormzy to Dame Judi Dench. As ever, Theroux has tried to approach these subjects as “normal people.”

“I love anything that levels the playing field,” he said.

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NEWS

Robertson: ‘The joke’s on you if you’re not making us laugh’ JUST 10% of the Gold and Grand Prix Lions awarded in Cannes last year used humour in the winning campaigns, noted Andrew Robertson, president and CEO of BBDO Worldwide.

“Humour is in decline,” he said in a packed Debussy for the Thursday session, entitled “But Seriously Though” – Why We Need To Make People Laugh.

“Nobody wants funny anymore,” Robertson said, showing research where funny ads especially declined during the pandemic and global recession.

But the BBDO head suggested that creatives embrace the acronym LMFAO (laughter means financial

achievements optimised).

He related a host of humorous campaigns that prove that funny sells. Many utilise schadenfreude, which according to one study is the highest form of effective humour.

A prime example was a Mission Impossible – Fallout campaign ad showing geriatric men struggling to act out their spy fantasies, and which came with the punchline: “Don’t wait for movies to get old.”

“It was very funny and very, very effective,” said Robertson of the film, which was made and tested before the pandemic, yet was rated in the top 5% of ads for enjoyment and top 5% for expres-

ANDREW ROBERTSON: “HUMOUR IN DECLINE”

siveness during the middle of the COVID wave.

Humour also works on a political level, with Barack Obama appearing on Zach Galifianakis’ YouTube comedy show, Between Two Ferns, to promote the healthcare.gov website set up as part of the Affordable Health Act. After the host satirised the president — he was labelled a “community organiser” — there was a 40% increase in traffic to the site, Robertson said.

Even if Gen Z is often perceived as a cynical and gloomy demographic, 76% also want their ads to be funny, yet only 36% of TV ads utilise humour, he added.

Being creative without the tension IS THERE a tension or common ground between content creators and adland creatives? That was the question explored as Whalar’s Ashley Rudder, the world’s first global chief creator officer, sat down with industry icon Sir John Hegarty, co founder and creative director The Garage Soho & The Business of Creativity, on the Palais II stage.

As an advertising legend with six decades of experience, Hegarty explained why he chose to get involved with Whalar and became chairman of the creator commerce company. “The reason I loved it was because I’ve spent my life fighting clients,

fighting to get the idea out there, fighting people saying no. I thought as a creative person you’ve been liberated. It’s a wonderful place to be,” he said. “Finally, I’m in an industry where nobody stops you

and you’ve developed your own audience.”

Hegarty reflected on the traditional world where you have to work hard to get the breaks, develop a reputation and get the power to be listened to.

WHALAR’S ASHLEY RUDDER WITH ADVERTISING LEGEND SIR JOHN HEGARTY

“Whereas today you can go out as a content creator and you can do what you want to do, you can be responsible for what you want to do, you can develop your audience and you then have something unique,” he said.

Rudder said that being a creator herself has opened many doors and she had been surprised at how many decision makers had little experience of content creation.

“As we evolve and are seeing lower and lower effectiveness of TV ads and higher and higher effectiveness of creative that’s come from creators, there’s a shift happening here,” she said.

LEGO BUILDS META PLANS JULIA Goldin, chief product and marketing officer, the Lego Group and Adam Sussman, president of Epic Games, took to the Palais II stage, along with their digital avatars, to talk about their joint plans to build a metaverse accessible to all.

“Internet 2.0 was not designed with children in mind, and yet they’re all there. We want to create the right world for them from the outset,” Goldin said.

“The immersive digital worlds of tomorrow will be a tremendous opportunity to develop creativity. We believe that kids and adults will be able to engage in ways they have never been able to engage before,” she added.

Child safety is of prime importance, Sussman stressed. “Epic already has industry-leading parental controls and the Lego Group has partnered with organisations like UNICEF to shape digital child safety policy but it’s incumbent upon us as an industry to continue to elevate safety standards together.”

Sussman said the metaverse will help everyone unlock their imagination and unleash their inner builder.

“We have an amazing opportunity to integrate tools in our work with Lego and what we build with them,” he said.

“We believe that the metaverse is going to come,” Goldin added, “it’s going to power up the opportunity to build brands, engage in new ways with consumers, and change our marketing model and the way we build relationships with our communities.”

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NEWS

AT THE start of the 2023 Cannes Lions session Unlocking Everybody’s Innate Creative Potential: The New Era of Collaboration, featuring singer-songwriter and entrepreneur will.i.am, moderator Jonathan Mildenhall dug out a 2010 video showing the Black Eyed Peas legend trying to persuade fellow band member Fergie that the future of music would be defined by AI. Fergie, like many in the Cannes Lions community, was sceptical. But 13 years on will.i.am is as evangelical as ever. In his words, the potential of AI is “freaking awesome. It’s already changing music and it’s going to change law, finance, education, retail, transport, white-collar jobs, blue-collar jobs, everything.”

He is under no illusions that some jobs will be lost, but is convinced “it will lead to the emergence of new jobs and new industries”. He also expects it to be a democratising force that will benefit “underserved communities.

It’s a tool that will liberate creativity in places like Soweto, Nigeria, Brazil and the LA projects where I grew up.”

As an advocate for technology’s posi-

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tive capabilities, will.i.am has put his money where his mouth is — launching a new tech platform for creatives called FYI. “People who look like me don’t usually get to launch AI-powered platforms. But we’re entering a new era where entertainers can inspire industries. I salute the likes of Rihanna, Jay-Z and Dr Dre who led the way. It was such a pleasure to be in at the start with Dr Dre and Beats — eventually sold to Apple.”

FYI, which has backing from IBM, is designed for artists as a way for them to centralise all of their data in one place — stored safely through the use of encryption. “It came to me during the pandemic when I realised that creators were using about six different platforms for all of their IP, conversations and so on. FYI simplifies that.”

Rather than job losses, will.i.am’s biggest fear around AI is lack of regulation. “You need a permit to drive a car, but not to run an AI platform.

You don’t need a moral compass at all. That has to change. The thing we really have to fight for is control of our essence and likeness. Everyone is at jeopardy if we don’t own our stuff.”

The

potential of AI is

‘freaking

awesome’

FOCUS ON JAPAN

8

Cannes

for absolute beginners

DAVID BOWIE AND RYUICHI SAKOMOTO IN MERRY CHRISTMAS MR. LAWRENCE

What can Japan learn from the Cannes Lions International Festival of Creativity? Quite a lot, according to Teruhiko Ikegami, media producer-in-chief at Nikkei’s N-Brand Studio — including learning about creativity from the world’s finest communicators

FOCUS ON JAPAN

O

NE OF Japan’s most popular TV shows is NHK’s Station, Airport, Street Piano, which features passers-by playing street pianos in cities around the world. As a Japanese person, I look forward to seeing if foreigners will play any Japanese music. Quite a few people play theme music from Japanese anime — but there’s one piece that’s played so often that I think, “Not this again…” It’s Ryuichi Sakamoto’s Merry Christmas, Mr. Lawrence.

Sakamoto’s composition is the music to the film of the same name, directed

by Nagisa Ôshima. Merry Christmas, Mr. Lawrence was entered into the 1983 Cannes Film Festival, where it lost out to Shôhei Imamura’s The Ballad of Narayama. But the fact that two films directed by Japanese directors were competing for the Palme d’Or in Cannes was not only unprecedented but undoubtedly one of the pinnacles of Japanese cinema. Ryuichi Sakamoto and David Bowie, who appeared in Merry Christmas, Mr. Lawrence became stars associated with Cannes.

Forty years have passed since then and director Hirokazu Kore-eda’s Monster, which was screened at this year’s Cannes Film Festival, was Sakamoto’s last film score. Sakamoto died in March this year at the age of 71, following Bowie, who passed away in 2016 aged 69. However, Sakamoto’s techno-pop film scores and Bowie’s rock music are arguably attracting more attention today than they did during their creators’ lifetimes. Their music is now seen as classical work that will be passed on to the next generation.

Music, film and advertisements are all creative endeavours. But unfortunately, in Japan, commercials are not generally seen as creative works — other than by those involved in the creative industries. There seems to be a deep-rooted perception among the Japanese public that advertising is only a practical tool for marketing. I wonder if this helps to explain the relatively low number of Japanese campaigns that have won awards at the Cannes Lions?

The Cannes Film Festival is held in May, followed by the Cannes Lions in June. I’d like to see better recognition in Japan at the latter — the world’s biggest creative festival — as well as a greater appreciation of the value of creativity.

Absolute Beginners is one of

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Bowie’s most famous songs. What can we Japanese learn from the Cannes Lions by going back to being absolute beginners?

In preparation for my first trip to Cannes, I watched Cannes Lions 2022 exhibition, the third instalment of World Class Creatives Here and Now! 2022 held at the Ad Museum Tokyo. Among last year’s awardwinning campaigns were works that were quite different from the advertisements and TV commercials that we watch every day in Japan. At the entrance to the venue, Cannes Lions guide Koichi Kawajiri posted a preface entitled Fighting Creatives.

Looking at the award-winning works projected one after another on the monitors, it’s clear the world’s creatives are fighting on a lot of fronts, from war, poverty, prejudice and social injustice to climate change and natural disasters. They are facing current affairs head-on to send out vital social messages. As a beginner, I couldn’t help but be surprised that these campaigns, which should surely be called creative works rather than advertising, have reached such a high level of social awareness.

For example, the video campaign ‘The Lost Class’ was broadcast on the internet by the US gun-control advocacy group Change the Ref. It won a Gold in PR. The two-minute film shows the former president of the National Rifle Association (NRA) giving a speech arguing against gun control to an empty auditorium of 3,044 seats — one for every high-school student who was killed by gunfire in 2021 and could not graduate. The tragedy of the US’ gun society is brilliantly illustrated by empty seats and empty speeches. The soundtrack to the film gradually increases the sense of urgency, as do the high-quality aesthetic effects, including video composition and frame delivery.

All in all, it is a true work of art that succeeds in touching the viewer’s heart. As I watched it, the word “resistance” came to my mind.

It’s not possible to compare Matsuo Basho’s three-line haikus with Marcel Proust’s lengthy novels.

But ‘The Lost Class’ shows that a two-minute video can equal a 120-minute film in terms of its social impact and ability to persuade.

Japan, an island nation at the far end of the East, has created its own unique culture by adopting and adapting the cultures of other

“The world’s creatives are fighting on a lot of fronts, from war, poverty, prejudice and social injustice to climate change and natural disasters”

FOCUS ON JAPAN

10

countries. In the process, the Japanese who visited Europe and the US from the end of the Edo period to the beginning of the Meiji period in the 19th century went with an attitude of humble learning, recognising they were absolute beginners in terms of understanding these distant worlds.

Recently, there has been some concern about the cultural insularity of the Japanese. Young people, for example, have turned their backs on Western music. Despite their awareness of the value of speaking English, they no longer listen to Coldplay or Ed Sheeran, preferring instead their home-grown J-pop idols. People in the music business will tell you this is because J-pop is now as sophisticated musically as Western pop.

But it is precisely when Japan is celebrating itself that it takes the wrong path and heads for decline.

History proves this. Against the backdrop of a weaker yen, people are doing their best to enjoy domestic

travel. This is understandable economically — but is it good that the number of Japanese students studying abroad is faltering or that there’s no sense of ownership of the international situation?

The US writer Scott Fitzgerald was living in France when he wrote his masterpiece Tender Is The Night, set in Cannes and Antibes. He learned something from the south of France.

For those who love Fitzgerald’s

“Japan has an opportunity to go back to being an absolute beginner and learn about innovation from the world’s finest creatives”

novels, just breathing the air of Cannes is a magical experience. It’s as if there’s a fountain of creativity that cultivates beautiful works that appeal to people’s hearts.

Japan has once again an opportunity to go back to being an absolute beginner and learn about innovation from the world’s finest creatives.

Japan has finally emerged from the coronavirus disaster and is attracting ever growing numbers of tourists from abroad. The Nikkei stock average reached its highest level since March 1990 in June. On the other hand, there is serious anxiety about the future, driven by a declining birth rate, an ageing population, rural depopulation and a spate of natural disasters. Creativity offers one way to break through this sense of stagnation and uncertainty. So let’s learn from the creatives of Cannes, like the great American writers of the Lost Generation and the samurai who struggled with the Meiji Restoration.

FOCUS ON US HISPANIC

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CHECHA AGOST CARREÑO& TANYA DE POLI

FRANCISCO CARDENAS

ELIAS WEINSTOCK

VERONICA ELIZONDO

HERNÁN CERDEIRO

GUSTAVO LAURIA

IVÁN CALLE

ALDO QUEVEDO & FLOR LEIBASHOFF

LOUIS MALDONADO

Getting real about artificial

intelligence AI has reached an inflexion point and is set to transform every industry — advertising included. Liz Unamo, editor of Hispanic and media advertising at PRODU considers the technology’s impact on the US Hispanic market and how multicultural agencies are rising to the challenge

FOCUS ON US HISPANIC

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T

HE USE of AI within advertising agencies is increasingly common thanks to its ability to provide innovative solutions to many daily tasks. Though it lacks any road run as yet, its arrival means that agencies must be more transparent, responsible and accountable regarding the work they create with the help of this technology.

Will agencies really use ChatGPT? Is this ingenious new tool just another gimmick or something that will genuinely benefit agencies and clients? What is the strategic problem of responsible advertising in the era of ChatGPT? Some of these questions were first asked of creatives in multicultural agencies in the US. The technology allows the current focus to become more inclusive, since AI doesn’t attempt to codify the rules, but rather allows computers to discover them on their own through the correlation and classification of an enormous amount of data.

There is no currency more valuable in this millennium than the data of giant organisations that is freely available on the internet.

It’s a fact that multicultural agencies travel the creative road with AI. So how do the likes of We Believers, Casanova//McCann, Founders, Conill, BeautifulBeast, LERMA/, d expósito & Partners, Zubi and Samy Alliance use this tool? And how do they see AI’s ethical implications in today’s world?

Gustavo Lauria, co-founder and chief creative officer of independent agency We Believers, says the technology is there to strengthen his creative team but never to replace it. “Good creatives will always have a place,” he insists, “particularly those who focus on ideas that affect individuals, our society in general and the environment, and who get people talking.”

Louis Maldonado, partner and managing director of d exposito & Partners, agrees with Lauria about the value that agencies contribute — and what keeps their work from being mere sales pitches — in terms of ground-breaking ideas based on brilliant strategies. “Chatbots and other AI tools can help us in that process, but they are not capable of original thought — at least, not yet,” Maldonado says. “We still need to be creative and develop the ideas that connect and move real people, who respond not

only to reason, but to emotional triggers and cultural stimuli.”

Casanova//McCann has experimented with AI on a number of daily tasks and is beginning to define the best use of these resources for its specific needs. “ChatGPT has the incredible power of gathering and condensing very focused and targeted information in seconds from existing data,” says Elias Weinstock, executive vice-president and chief creative officer of Casanova//McCann. “But it lacks human analysis, emotion and the capacity to make unexpected connections that generate new and powerful ideas. But again, as a tool, I believe it will play a big role in agencies and brands alike.”

The technology is not a threat, but whether its integration will be accepted depends on the way people react to it. Founders co-founders Checha Agost Carreño, chief creative officer, and Tanya De Poli, chief operating officer, reflect on why a total integration of AI has not yet happened within the industry: “We definitely don’t see it as a gimmick like we considered the Metaverse to be. AI language models have very specific and tangible uses in our industry — data analysis, copywriting, market research and automation, for example. And the best part is that it is an accessible technology and easy to use. This, and the fact that AI can help us improve our efficiency in many everyday tasks, makes it much easier for our industry to embrace it.”

Aldo Quevedo, CEO and creative chairman of BeautifulBeast, quotes Thanos, the villain of Avengers: Infinity War, who famously said: “I’m inevitable”. Quevedo believes the use of ChatGPT is equally inevitable: “The possibilities are limitless and we have only just begun exploring its potential.”

Meanwhile, Flor Leibaschoff, chief creative officer of BeautifulBeast, believes that, as research digs deeper into the capabilities and limitations of AI, the industry will begin to produce truly extraordinary work. “The use of AI has gained widespread acceptance due to its ability to offer unique and innovative solutions to daily tasks in agencies across the board,” she adds.

But agencies must ensure that their use of AI aligns with their brand values and ethical guidelines. There’s also the issue of transparency. In some cases, consumers may need to be informed when they are interacting with AI rather than a

“Chatbots and other AI tools can help us, but they are not capable of original thought — at least, not yet” LOUIS MALDONADO

FOCUS ON US HISPANIC

human. The use of AI in advertising can be a great asset — but it also introduces new challenges and responsibilities that agencies will need to navigate carefully.

“One of the challenges is the lack of regulation and the potential for unethical usage. It’s crucial for us, as humans, to maintain control and management of AI-generated content.

We must set guidelines and standards to ensure responsible and transparent practices,” says Veronica Elizondo, chief creative officer at Conill.

Taking a similar line, Francisco Cardenas, principal of digital strategy and integration at LERMA/, identifies two crucial points about the use of ChatGPT. The first is that the sources of some of the answers offered by the chatbot are still not 100% clear. This could represent a problem for agencies, which could find themselves infringing copyright. The second point is that the more ChatGPT is used and, as a result, the more it is published on an ever greater number of websites, the more it is likely to be used as a source of future reporting. But if those websites are not regulated, they may contribute faulty information to the chatbot, which will then be spread among other users, thus creating a toxic cycle.

“My opinion is that we must

13

keep experimenting, but responsibly,” Cardenas adds.

For Hernán Cerdeiro, Samy Alliance’s chief creative officer, Americas, advertising has a responsibility to come up with powerful, effective messages about how ChatGPT and AI can be adapted to make work processes more efficient and effective. “Our responsibility is to understand how to utilise AI to evolve our profession, but always putting human talent ahead of any technology,” he says.

Iván Calle, vice-president executive creative director at Zubi, delegates ethical responsibility for AI to individual agencies. “Part of creative culture has constantly been disregarding ideas that are done. Yes, some people violate that code, but there is a code. ChatGPT does not have intuition, the ability to collaborate, the capacity to improvise or evaluate human emotions or consider how a specific group feels about a brand or have any understanding of a particular individual’s past experiences. Culture and physiology are some of the elements that are still very human.”

For advertising, all this means that agencies must be more transparent, and more responsible and accountable than ever for the work they create using this technology.

FILM — WINNERS

14

Grand Prix

FILM RELAX, IT’S IPHONE – R.I.P. LEON APPLE APPLE, CUPERTINO USA

FILM — WINNERS

15

Grand Prix

FILM

THE LAST PHOTO ITV X CALM ADAM&EVEDDB, LONDON UK

CLASSIC TRACK WINNERS /FILM

16

A02/067 • SPAIN •

GRAND PRIX A02/005 • USA •

CONSUMER GOODS TITLE • RELAX, IT’S IPHONE – R.I.P. LEON BRAND • APPLE PRODUCT • IPHONE 14 ENTERED BY • APPLE, CUPERTINO IDEA CREATION • APPLE, CUPERTINO PRODUCTION • BISCUIT FILMWORKS, LOS ANGELES POST PRODUCTION • WORK EDITORIAL, LOS ANGELES / BLACKSMITH, NEW YORK

F07/080 • UNITED KINGDOM •

CORPORATE PURPOSE & CSR TITLE • THE LAST PHOTO BRAND • ITV X CALM PRODUCT • ITV X CALM ENTERED BY • ADAM&EVEDDB, LONDON IDEA CREATION • ADAM&EVEDDB, LONDON PRODUCTION • CAIN & ABEL, LONDON MEDIA • THE7STARS, LONDON PR • HOPE & GLORY, LONDON

GOLD LIONS A02/006 • USA •

CONSUMER GOODS TITLE • RELAX, IT’S IPHONE – ACTION MODE BRAND • APPLE PRODUCT • IPHONE 14 ENTERED BY • APPLE, CUPERTINO IDEA CREATION • APPLE, CUPERTINO

CONSUMER GOODS CAMPAIGN TITLE • SECOND BEST STOOL BRAND • IKEA PRODUCT • CHILDREN FURNITURE ENTERED BY • DAVID, MADRID IDEA CREATION • DAVID, MADRID / INGO, HAMBURG PRODUCTION • SAL GORDA, MADRID / THE LOBBY, MADRID / GRADEPUNK COLOR GRADING, MADRID / WACHO HITS, BUENOS AIRES

PRODUCTION • BISCUIT FILMWORKS, LOS ANGELES POST PRODUCTION • WORK EDITORIAL, LOS ANGELES / BLACKSMITH, NEW YORK

A02/063 • SPAIN •

CONSUMER GOODS CAMPAIGN TITLE • SECOND BEST HIGH CHAIR BRAND • IKEA PRODUCT • CHILDREN FURNITURE ENTERED BY • DAVID, MADRID IDEA CREATION • DAVID, MADRID / INGO, HAMBURG PRODUCTION • SAL GORDA, MADRID / THE LOBBY, MADRID / GRADEPUNK COLOR GRADING, MADRID / WACHO HITS, BUENOS AIRES

A02/068 • SPAIN •

CONSUMER GOODS CAMPAIGN TITLE • SECOND BEST COT BRAND • IKEA PRODUCT • CHILDREN FURNITURE ENTERED BY • DAVID, MADRID IDEA CREATION • DAVID, MADRID / INGO, HAMBURG PRODUCTION • SAL GORDA, MADRID / THE LOBBY, MADRID / GRADEPUNK COLOR GRADING, MADRID / WACHO HITS, BUENOS AIRES

A08/059 • UNITED KINGDOM •

CONSUMER SERVICES / B2B TITLE • COWBOY CAMPAIGN

CLASSIC TRACK WINNERS /FILM

17

BRAND • UBER EATS

SHOP, LONDON

PRODUCT • UBER EATS

POST PRODUCTION • ABSOLUTE , LONDON

ENTERED BY • MOTHER, LONDON IDEA CREATION • MOTHER, LONDON PRODUCTION • BISCUIT FILMWORKS, LONDON POST PRODUCTION • SELECTED WORKS, LONDON / THE QUARRY, LONDON / NO. 8, LONDON

SILVER LIONS

CONSUMER SERVICES / B2B CAMPAIGN TITLE • NAILS BRAND • UBER EATS PRODUCT • UBER EATS ENTERED BY • MOTHER, LONDON IDEA CREATION • MOTHER, LONDON

ENTERED BY • ORCHARD, NEW YORK IDEA CREATION • ORCHARD, NEW YORK PRODUCTION • OPC PRODUCTION, TORONTO

A02/004 • USA •

CONSUMER GOODS TITLE • THE GREATEST

A08/060 • UNITED KINGDOM •

PRODUCT • OCEAN SPRAY JELLIED CRANBERRY SAUCE

BRAND • APPLE PRODUCT • APPLE - ACCESSIBILITY ENTERED BY • APPLE, CUPERTINO IDEA CREATION • APPLE, CUPERTINO PRODUCTION • SOMESUCH, LOS ANGELES MEDIA • APPLE, CUPERTINO PR • APPLE, CUPERTINO

B01/112 • USA •

FOOD & DRINK TITLE • APOLOGIZE THE RAINBOW BRAND • SKITTLES PRODUCT • SKITTLES ENTERED BY • DDB, CHICAGO IDEA CREATION • DDB, CHICAGO PRODUCTION • PICROW, LOS ANGELES

POST PRODUCTION • TRIM EDITING, LONDON

MEDIA • MEDIACOM, NEW YORK

POST PRODUCTION • SELECTED WORKS, LONDON / THE QUARRY, LONDON / NO. 8, LONDON

A05/027 • USA •

POST PRODUCTION • WHITEHOUSE POST, CHICAGO / CARBON VFX, CHICAGO / THE WORKS, CHICAGO

A08/061 • UNITED KINGDOM •

TITLE • LEGENDS NEVER DIE

PRODUCTION • BISCUIT FILMWORKS, LONDON

PR • WEBER SHANDWICK, CHICAGO

RETAIL CONSUMER SERVICES / B2B CAMPAIGN TITLE • PARROT BRAND • UBER EATS PRODUCT • UBER EATS

BRAND • LEVI’S PRODUCT • LEVI’S DENIM ENTERED BY • DROGA5, PART OF ACCENTURE SONG, NEW YORK

B02/020 • USA •

CONSUMER GOODS TITLE • TRAFFIC STOP BRAND • NATIVE

IDEA CREATION • DROGA5, PART OF ACCENTURE SONG, NEW YORK

PRODUCT • NATIVE

ENTERED BY • MOTHER, LONDON IDEA CREATION • MOTHER, LONDON

PRODUCTION • DE LA REVOLUCION, CALIFORNIA

IDEA CREATION • M/H, SAN FRANCISCO

PRODUCTION • BISCUIT FILMWORKS, LONDON

MEDIA • OMD WORLDWIDE, LONDON

PRODUCTION • O POSITIVE, SANTA MONICA

POST PRODUCTION • SELECTED WORKS, LONDON / THE QUARRY, LONDON / NO. 8, LONDON

POST PRODUCTION • ROCK PAPER SCISSORS, NEW YORK / BALLAD, FREDERIKSBERG

B03/016 • UNITED KINGDOM •

A05/028 • USA •

HEALTHCARE

RETAIL

TITLE • #PERIODSOMNIA

TITLE • FAIR EXCHANGE

BRAND • BODYFORM/LIBRESSE

BRAND • LEVI’S

PRODUCT • BODYFORM/LIBRESSE

PRODUCT • LEVI’S DENIM

ENTERED BY • AMV BBDO, LONDON

ENTERED BY • DROGA5, PART OF ACCENTURE SONG, NEW YORK

IDEA CREATION • AMV BBDO, LONDON PRODUCTION • SOMESUCH, LOS ANGELES MEDIA • ZENITH, LONDON PR • KETCHUM, LONDON POST PRODUCTION • TRIM EDITING, LONDON / TIME BASED ARTS, LONDON / 750MPH, LONDON

B07/044 • FRANCE •

MEDIA / ENTERTAINMENT TITLE • PAPA BRAND • CANAL+ PRODUCT • CANAL+ ENTERED BY • BETC, PARIS IDEA CREATION • BETC, PARIS PRODUCTION • BLUE PARIS / MOPART, PARIS / HERCULES, PARIS / CALESON, PARIS

C01/029 • UNITED KINGDOM •

VIRAL FILM TITLE • WOMEN’S AID - HE’S COMING HOME

IDEA CREATION • DROGA5, PART OF ACCENTURE SONG, NEW YORK PRODUCTION • DE LA REVOLUCION, CALIFORNIA MEDIA • OMD WORLDWIDE, LONDON POST PRODUCTION • ROCK PAPER SCISSORS, NEW YORK / BALLAD, FREDERIKSBERG

ENTERED BY • HOUSE 337, LONDON IDEA CREATION • HOUSE 337, LONDON PRODUCTION • HOUSE 337, LONDON / THE CORNER

B08/057 • ARGENTINA •

CONSUMER SERVICES / B2B TITLE • 1000 SLIDES BRAND • GLOBANT PRODUCT • GLOBANT CONSULTANCY ENTERED BY • GUT, BUENOS AIRES IDEA CREATION • GUT, BUENOS AIRES PRODUCTION • REBOLUCION, BUENOS AIRES POST PRODUCTION • PORTAESTUDIO, BUENOS AIRES

B09/046 • UNITED KINGDOM •

NFPO / CHARITY / GOVERNMENT TITLE • PETA - RED RIVER FARM BRAND • PETA PRODUCT • ANIMAL SKINS

A08/013 • USA •

ENTERED BY • HOUSE 337, LONDON

CONSUMER SERVICES / B2B

IDEA CREATION • HOUSE 337, LONDON

TITLE • THE SINGULARITY BRAND • SQUARESPACE PRODUCT • SQUARESPACE ENTERED BY • SQUARESPACE, NEW YORK

PRODUCTION • HOUSE 337, LONDON / BLINKINK, LONDON MEDIA • HOUSE 337, LONDON POST PRODUCTION • ABSOLUTE , LONDON

IDEA CREATION • SQUARESPACE, NEW YORK PRODUCTION • SMUGGLER, LOS ANGELES MEDIA • SQUARESPACE, NEW YORK PR • SQUARESPACE, NEW YORK POST PRODUCTION • COFFEE AND TV, LONDON / BLACK KITE STUDIOS LTD, LONDON / HEARD CITY, NEW YORK / ACTIVE THEORY, LOS ANGELES

BRAND • WOMEN’S AID PRODUCT • CHARITY SERVICES

ENTERED BY • M/H, SAN FRANCISCO

B01/037 • USA •

FOOD & DRINK TITLE • OCEAN SPRAY - POWER YOUR HOLIDAY BRAND • OCEAN SPRAY

D02/035 • SPAIN •

MICRO-FILM TITLE • PROUDLY SECOND BEST BRAND • IKEA PRODUCT • CHILDREN FURNITURE ENTERED BY • DAVID, MADRID IDEA CREATION • DAVID, MADRID / INGO, HAMBURG PRODUCTION • SAL GORDA, MADRID / THE LOBBY, MADRID / GRADEPUNK COLOR GRADING, MADRID / WACHO HITS, BUENOS AIRES

CLASSIC TRACK WINNERS /FILM

18

WACHO HITS, BUENOS AIRES

F02/022 • SWEDEN •

CHALLENGER BRAND TITLE • NORMALIZE IT! BRAND • OATLY PRODUCT • OATLY (OAT DRINK) ENTERED BY • OATLY, MALMO

F04/093 • JAPAN •

ENTERED BY • THE COMMUNITY, MIAMI

SOCIAL BEHAVIOUR

IDEA CREATION • THE COMMUNITY, MIAMI

TITLE • WELCOME TO NIKE JUKU BRAND • NIKE JAPAN PRODUCT • NIKE JUKU ENTERED BY • AOI PRO. INC., TOKYO IDEA CREATION • WIEDEN+KENNEDY, TOKYO PRODUCTION • AOI PRO. INC., TOKYO

IDEA CREATION • OATLY, MALMO PRODUCTION • B-REEL FILMS, STOCKHOLM / PAPAYA FILMS, WARSAW / POM PICTURES, GOTHENBURG

CULTURAL INSIGHT TITLE • THE MYTH BRAND • WIEDEN+KENNEDY PORTLAND

SINGLE-MARKET CAMPAIGN

PRODUCT • PSA

BRAND • TELEFÓNICA VIVO & MOTOROLA PRODUCT • MOTOROLA EDGE 30 ULTRA 5G ENTERED BY • VMLY&R, SÃO PAULO

ENTERED BY • WIEDEN+KENNEDY, PORTLAND IDEA CREATION • WIEDEN+KENNEDY, PORTLAND PRODUCTION • BISCUIT FILMWORKS, LOS ANGELES POST PRODUCTION • JOINT EDITORIAL, PORTLAND

IDEA CREATION • VMLY&R, SÃO PAULO PRODUCTION • O2 FILMES, SÃO PAULO / SUPERSONICA, SÃO PAULO MEDIA • VMLY&R, SÃO PAULO POST PRODUCTION • O2 FILMES, SÃO PAULO

MEDIA • CARAT, NEW YORK PR • FLEISHMAN HILLARD, NEW YORK POST PRODUCTION • CO3, NEW YORK / DUOTONE AUDIO GROUP, NEW YORK / SONIC UNION, NEW YORK / MACKCUT, NEW YORK / FRAMESTORE, NEW YORK

F05/072 • USA •

F03/045 • BRAZIL • TITLE • BUSCAPÉ. BACK TO THE CITY OF GOD.

PRODUCTION • O POSITIVE, SANTA MONICA / EYELINE STUDIOS, LOS ANGELES

F08/006 • SWEDEN •

MARKET DISRUPTION TITLE • THE CHEAP DRIVER BRAND • ST1 PRODUCT • UNMANNED FILLING STATIONS ENTERED BY • GARBERGS KOMMUNIKATION, STOCKHOLM IDEA CREATION • GARBERGS KOMMUNIKATION, STOCKHOLM PRODUCTION • BLECK, STOCKHOLM

F07/058 • USA •

CORPORATE PURPOSE & CSR TITLE • EVS ON SCREEN BRAND • GENERAL MOTORS, NETFLIX PRODUCT • GENERAL MOTORS, NETFLIX

CLASSIC TRACK WINNERS /FILM

BRONZE LIONS A01/081 • UNITED KINGDOM •

FOOD & DRINK TITLE • BABY SCAN

19

ENTERED BY • LEO BURNETT, LONDON

PRODUCTION • BISCUIT FILMWORKS, LOS ANGELES

IDEA CREATION • LEO BURNETT, LONDON

MEDIA • ESSENCEMEDIACOM, NEW YORK

PRODUCTION • MOXIE PICTURES, LONDON

POST PRODUCTION • BACON, COPENHAGEN / CUT + RUN, LOS ANGELES / ANOTHER COUNTRY, CHICAGO / HUMAN, LOS ANGELES

MEDIA • OMD WORLDWIDE, LONDON POST PRODUCTION • FRAMESTORE, LONDON / 750MPH, LONDON

BRAND • MARMITE PRODUCT • MARMITE ENTERED BY • ADAM&EVEDDB, LONDON IDEA CREATION • ADAM&EVEDDB, LONDON

B02/025 • USA • A05/056 • SOUTH AFRICA •

CONSUMER GOODS

RETAIL

TITLE • PRIVACY ON IPHONE - DATA AUCTION BRAND • APPLE

PRODUCTION • BISCUIT FILMWORKS, LONDON / WORK EDITORIAL, LONDON / KING HENRY, LONDON

TITLE • ANYTHING FOR THE TASTE

MEDIA • MINDSHARE, LONDON

PRODUCT • KFC BRAND

PR • W COMMUNICATIONS, LONDON

ENTERED BY • OGILVY SOUTH AFRICA, JOHANNESBURG

IDEA CREATION • TBWA\MEDIA ARTS LAB, LOS ANGELES

IDEA CREATION • OGILVY SOUTH AFRICA, JOHANNESBURG

PRODUCTION • SMUGGLER, LOS ANGELES MEDIA • OMD, LOS ANGELES

PRODUCTION • ROMANCE FILMS, CAPE TOWN

POST PRODUCTION • WHITEHOUSE POST PRODUCTIONS, LOS ANGELES / THE MILL, LOS ANGELES / BARKING OWL, LOS ANGELES

POST PRODUCTION • ABSOLUTE , LONDON / FACTORY STUDIO, LONDON

A02/029 • AUSTRALIA •

BRAND • KFC

PR • OGILVY SOUTH AFRICA, JOHANNESBURG

CONSUMER GOODS TITLE • WEATHER ANYTHING BRAND • MACPAC PRODUCT • CLOTHING

A06/010 • THE NETHERLANDS •

TRAVEL / LEISURE

ENTERED BY • THE MONKEYS, PART OF ACCENTURE SONG, MELBOURNE

TITLE • DON’T WAIT FOR LUCK TO HAPPEN

IDEA CREATION • THE MONKEYS, PART OF ACCENTURE SONG, MELBOURNE

PRODUCT • NEW YEAR’S LOTTERY

PRODUCTION • THE SWEETSHOP, MELBOURNE

IDEA CREATION • TBWA\NEBOKO, AMSTERDAM

POST PRODUCTION • THE EDITORS, MELBOURNE / FIN DESIGN & EFFECTS, MELBOURNE / SQUEAK E. CLEAN STUDIOS, MELBOURNE

BRAND • DUTCH STATE LOTTERY ENTERED BY • TBWA\NEBOKO, AMSTERDAM PRODUCTION • TBWA\NEBOKO, AMSTERDAM POST PRODUCTION • TBWA\NEBOKO, AMSTERDAM / AMBASSADORS, AMSTERDAM / CAPTCHA, AMSTERDAM / PUBLIC AUDIO, AMSTERDAM

A02/031 • USA •

CONSUMER GOODS TITLE • THE ORIGINAL IMPOSSIBLE BRAND • ADIDAS PRODUCT • ADIDAS ENTERED BY • OPINIONATED, PORTLAND IDEA CREATION • OPINIONATED, PORTLAND PRODUCTION • PRETTYBIRD, LOS ANGELES POST PRODUCTION • ARTS ACADEMY, PORTLAND / CO3, NEW YORK

A04/026 • USA •

AUTOMOTIVE TITLE • EVS ON SCREEN BRAND • GENERAL MOTORS, NETFLIX PRODUCT • GENERAL MOTORS, NETFLIX ENTERED BY • THE COMMUNITY, MIAMI IDEA CREATION • THE COMMUNITY, MIAMI PRODUCTION • O POSITIVE, SANTA MONICA / EYELINE STUDIOS, LOS ANGELES MEDIA • CARAT, NEW YORK PR • FLEISHMAN HILLARD, NEW YORK POST PRODUCTION • CO3, NEW YORK / DUOTONE AUDIO GROUP, NEW YORK / SONIC UNION, NEW YORK / MACKCUT, NEW YORK / FRAMESTORE, NEW YORK

RETAIL TITLE • RAISE YOUR ARCHES BRAND • MCDONALD’S PRODUCT • MCDONALD’S

ENTERED BY • TBWA\MEDIA ARTS LAB, LOS ANGELES

B02/041 • THE NETHERLANDS •

CONSUMER GOODS TITLE • JOIN THE FLIP SIDE BRAND • SAMSUNG PRODUCT • SAMSUNG GALAXY Z FLIP4 ENTERED BY • WIEDEN+KENNEDY, AMSTERDAM IDEA CREATION • WIEDEN+KENNEDY, AMSTERDAM PRODUCTION • BACON, COPENHAGEN

B08/027 • USA •

CONSUMER SERVICES / B2B

A09/019 • UNITED KINGDOM •

TITLE • THE SINGULARITY: BTS

NFPO / CHARITY / GOVERNMENT

BRAND • SQUARESPACE

TITLE • THE ULTIMATE VOW

PRODUCT • SQUARESPACE

BRAND • ALZHEIMER’S SOCIETY

ENTERED BY • SQUARESPACE, NEW YORK

PRODUCT • ALZHEIMER’S SOCIETY (CHARITY)

IDEA CREATION • SQUARESPACE, NEW YORK

ENTERED BY • NEW COMMERCIAL ARTS, LONDON

PRODUCTION • SMUGGLER, LOS ANGELES

IDEA CREATION • NEW COMMERCIAL ARTS, LONDON

MEDIA • SQUARESPACE, NEW YORK

PRODUCTION • BISCUIT FILMWORKS, LONDON

PR • SQUARESPACE, NEW YORK

B01/091 • UNITED KINGDOM •

POST PRODUCTION • COFFEE AND TV, LONDON / BLACK KITE STUDIOS LTD, LONDON / HEARD CITY, NEW YORK / ACTIVE THEORY, LOS ANGELES

FOOD & DRINK TITLE • NOTHING FILLS A HOLE LIKE POT NOODLE BRAND • POT NOODLE PRODUCT • POT NOODLE ENTERED BY • ADAM&EVEDDB, LONDON IDEA CREATION • ADAM&EVEDDB, LONDON PRODUCTION • ACADEMY FILMS, LONDON / ADAM&EVEDDB, LONDON MEDIA • MINDSHARE, LONDON PR • W COMMUNICATIONS, LONDON POST PRODUCTION • ACADEMY FILMS, LONDON / FACTORY STUDIOS, LONDON / NINETEENTWENTY, LONDON / SIREN, LONDON

B01/095 • USA • A05/017 • UNITED KINGDOM •

PRODUCT • IPHONE

FOOD & DRINK TITLE • MUSTACHE BRAND • TWIX PRODUCT • TWIX ENTERED BY • DDB, CHICAGO IDEA CREATION • DDB, CHICAGO

B09/084 • USA •

NFPO / CHARITY / GOVERNMENT TITLE • WAR STORIES BRAND • BRADY PRODUCT • GUN VIOLENCE PREVENTION ENTERED BY • BCW, NEW YORK IDEA CREATION • BCW, NEW YORK PRODUCTION • BURN STUDIO, NEW YORK PR • BCW, NEW YORK

D02/037 • ITALY •

MICRO-FILM TITLE • THE GHOSTED BAR BRAND • HEINEKEN PRODUCT • HEINEKEN ENTERED BY • PUBLICIS ITALY | LEPUB, MILAN IDEA CREATION • PUBLICIS ITALY | LEPUB, MILAN PRODUCTION • THE USUAL SUSPECTS, MARIETTA

CLASSIC TRACK WINNERS /FILM

20

BRAND • BLOCKBUSTER

SCREENS & EVENTS

PRODUCT • BLOCKBUSTER VIDEO

TITLE • THE FIRST DIGITAL NATION BRAND • THE GOVERNMENT OF TUVALU PRODUCT • GOVERNMENT ENTERED BY • THE MONKEYS, PART OF ACCENTURE SONG, SYDNEY IDEA CREATION • THE MONKEYS, PART OF ACCENTURE SONG, SYDNEY PRODUCTION • COLLIDER, SYDNEY PR • THRIVE PR + COMMUNICATIONS, SYDNEY POST PRODUCTION • / MASSIVEMUSIC, SYDNEY

F01/016 • ARGENTINA •

ENTERED BY • ATLANTIC, NEW YORK IDEA CREATION • ATLANTIC, NEW YORK PRODUCTION • HAVING CHANGED PRODUCTION, NEW YORK / DWECK PRODUCTIONS, NEW YORK

F06/038 • GERMANY •

BREAKTHROUGH ON A BUDGET TITLE • ESCAPE BRAND • GERMAN RAIL PRODUCT • GERMAN RAIL ENTERED BY • OGILVY GERMANY, FRANKFURT IDEA CREATION • OGILVY GERMANY, FRANKFURT

LOCAL BRAND TITLE • COINCIDENCES BRAND • QUILMES PRODUCT • BEER ENTERED BY • AB INBEV, BUENOS AIRES IDEA CREATION • DRAFTLINE, BUENOS AIRES PRODUCTION • ARGENTINACINE, BUENOS AIRES MEDIA • ZENITH, BUENOS AIRES PR • BALLERO, BUENOS AIRRES

F03/009 • USA •

SINGLE-MARKET CAMPAIGN

F07/002 • USA •

CORPORATE PURPOSE & CSR TITLE • THE GREATEST BRAND • APPLE PRODUCT • APPLE - ACCESSIBILITY ENTERED BY • APPLE, CUPERTINO IDEA CREATION • APPLE, CUPERTINO PRODUCTION • SOMESUCH, LOS ANGELES MEDIA • APPLE, CUPERTINO PR • APPLE, CUPERTINO POST PRODUCTION • TRIM EDITING, LONDON

TITLE • THE GENTLE GIANT BRAND • AD COUNCIL, LOVE HAS NO LABELS PRODUCT • LOVE HAS NO LABELS ENTERED BY • R/GA, NEW YORK IDEA CREATION • R/GA, NEW YORK PRODUCTION • SMUGGLER, NEW YORK

F03/052 • UNITED KINGDOM •

F07/009 • SPAIN •

CORPORATE PURPOSE & CSR TITLE • SHE BRAND • J&B PRODUCT • J&B RARE ENTERED BY • EL RUSO DE ROCKY, MADRID IDEA CREATION • EL RUSO DE ROCKY, MADRID

SINGLE-MARKET CAMPAIGN

PRODUCTION • AGOSTO, BARCELONA

TITLE • BABY SCAN

MEDIA • PHD MEDIA SPAIN, MADRID

BRAND • MARMITE

PR • NEWLINK, MADRID

PRODUCT • MARMITE ENTERED BY • ADAM&EVEDDB, LONDON IDEA CREATION • ADAM&EVEDDB, LONDON

F07/037 • DENMARK •

CORPORATE PURPOSE & CSR

PRODUCTION • BISCUIT FILMWORKS, LONDON / WORK EDITORIAL, LONDON / KING HENRY, LONDON

TITLE • IRAN-E MAN

MEDIA • MINDSHARE, LONDON

BRAND • PAIRI DAEZA

PR • W COMMUNICATIONS, LONDON

PRODUCT • PAIRI DAEZA SCARVES

POST PRODUCTION • ABSOLUTE , LONDON / FACTORY STUDIO, LONDON

ENTERED BY • NEW-LAND, COPENHAGEN IDEA CREATION • NEW-LAND, COPENHAGEN PRODUCTION • NEW-LAND, COPENHAGEN

F05/139 • MEXICO •

CULTURAL INSIGHT TITLE • SHOUT BRAND • TELEFÓNICA PRODUCT • MOVISTAR ENTERED BY • VMLY&R MEXICO, MEXICO CITY • IDEA CREATION • VMLY&R MEXICO, MEXICO CITY • PRODUCTION • REBOLUCION, MEXICO CITY POST PRODUCTION • REBOLUCION, MEXICO CITY

F06/014 • USA •

BREAKTHROUGH ON A BUDGET TITLE • BLOCKBUSTER: UNTIL THE BITTER END

FILM

E03/002 • AUSTRALIA •

TITANIUM — WINNERS

21

Grand Prix

TITANIUM THE FIRST DIGITAL NATION THE GOVERNMENT OF TUVALU THE MONKEYS, PART OF ACCENTURE SONG, SYDNEY AUSTRALIA

TITANIUM LIONS A01/096

USA

A01/143

POLAND

A01/175

MAINLAND CHINA

TITANIUM

TITANIUM

TITLE

BRING HOME THE BUD

TITLE

WHERE TO SETTLE

TITLE

CORONA EXTRA LIME

BRAND

BUDWEISER

BRAND

MASTERCARD

BRAND

CORONA

TITANIUM

PRODUCT BUDWEISER BEER

PRODUCT WEBSITE ...

PRODUCT CORONA EXTRA LIME

ENTERED BY WIEDEN+KENNEDY, NEW YORK

ENTERED BY MCCANN POLAND, WARSAW

ENTERED BY DRAFTLINE, SHANGHAI

IDEA CREATION WIEDEN+KENNEDY, NEW YORK / WIEDEN+KENNEDY, SÃO PAULO / AFRICA CREATIVE DDB, SÃO PAULO

IDEA CREATION MCCANN POLAND, WARSAW

IDEA CREATION DAVID, BOGOTÁ / DAVID, NEW YORK / DRAFTLINE, SHANGHAI

PRODUCTION WIEDEN+KENNEDY, NEW YORK MEDIA COPA90, LONDON PR ALLISON+PARTNERS, NEW YORK POST PRODUCTION SONIC UNION, NEW YORK

PRODUCTION MCCANN POLAND, WARSAW MEDIA MASTERCARD POLAND, WARSZAWA PR MASTERCARD POLAND, WARSZAWA POST PRODUCTION MCCANN POLAND, WARSAW

PRODUCTION DRAFTLINE, SHANGHAI / MACARENA & CO, BOGOTÁ PR DRD4, SHANGHAI POST PRODUCTION MARA, BOGOTÁ

GLASS: THE LION FOR CHANGE — WINNER

22

Grand Prix

GLASS: THE LION FOR CHANGE KNOCK KNOCK KOREAN NATIONAL POLICE AGENCY CHEIL WORLDWIDE, SEOUL SOUTH KOREA

EXPERIENCE TRACK WINNERS /GLASS: THE LION FOR CHANGE

A01/194 • THAILAND •

GLASS

A01/154 • UNITED ARAB EMIRATES •

TITLE • LET HER GROW

GLASS

BRAND • DOVE

TITLE • SCHOOLGIRL NEWSCASTERS

PRODUCT • DOVE HAIR CARE

BRAND • EBM

ENTERED BY • UNILEVER, BANGKOK

PRODUCT • GIRLS’ EDUCATION

IDEA CREATION • SELECT START, BANGKOK / EDELMAN, BANGKOK

ENTERED BY • IMPACT BBDO, DUBAI IDEA CREATION • IMPACT BBDO, DUBAI PRODUCTION • BBDO PAKISTAN, LAHORE / SHINY TOY GUNS, KARACHI / DIAGRAM, KARACHI MEDIA • M6 & PARTNERS, KARACHI PR • SYNTAX COMMUNICATIONS, KARACHI POST PRODUCTION • MASSIVEMUSIC, DUBAI

SILVER LIONS A01/081 • URUGUAY •

GLASS TITLE • AUF EQUALITY CUP BRAND • URUGUAYAN FOOTBALL ASOCIATION AND MCDONALD´S PRODUCT • AUF ENTERED BY • ASOCIACION URUGUAYA DE FUTBOL (AUF), MONTEVIDEO IDEA CREATION • CAMARA\TBWA, MONTEVIDEO PRODUCTION • ZEN FILMS, MONTEVIDEO MEDIA • OMD URUGUAY, MONTEVIDEO POST PRODUCTION • ZEN FILMS, MONTEVIDEO

A01/123 • USA •

GLASS TITLE • EVERYTHING THEY DIDN’T TELL YOU BRAND • BLACK WOMEN FOR WELLNESS LA PRODUCT • BLACK MATERNAL HEALTH INFORMATION ENTERED BY • AREA 23, AN IPG HEALTH NETWORK COMPANY, NEW YORK IDEA CREATION • AREA 23, AN IPG HEALTH NETWORK COMPANY, NEW YORK

BRONZE LIONS A01/060 • BRAZIL •

GLASS TITLE • UNCOMFORTABLE FOOD BRAND • STELLA ARTOIS PRODUCT • STELLA ARTOIS ENTERED BY • SOKO, SÃO PAULO IDEA CREATION • SOKO, SÃO PAULO PRODUCTION • CAFE ROYAL, SÃO PAULO PR • H+K IDEAL, SÃO PAULO

A01/094 • KENYA •

GLASS TITLE • STAIN NOT SHAME BRAND • ZEVA FASHION PRODUCT • ZEVA FASHION ENTERED BY • SCANAD, NAIROBI IDEA CREATION • SCANAD, NAIROBI PR • HILL+KNOWLTON STRATEGIES, NAIROBI

GLASS: THE LION FOR CHANGE

GOLD LIONS

23

PRODUCTION • UNDERDOC FILM, BANGKOK / SELECT START, BANGKOK / EDELMAN, BANGKOK MEDIA • MINDSHARE, BANGKOK PR • EDELMAN, BANGKOK

GRAND PRIX FOR GOOD — WINNER

24

Grand Prix

FOR GOOD ANNE DE GAULLE FONDATION ANNE DE GAULLE HAVAS PARIS FRANCE G01/051

FRANCE

CULTURAL INSIGHT TITLE • ANNE DE GAULLE BRAND • FONDATION ANNE DE GAULLE PRODUCT • ASSOCIATION ENTERED BY • HAVAS PARIS IDEA CREATION • HAVAS PARIS PRODUCTION • FRANCE INFO, PARIS

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