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
up … Leon is dead.” Leon’s carer is devastated and, in the background, the slow chords of Alive by Hanni El Khatib
accentuate his anxiety as he texts Leon’s owner with the fatal news.
The message sent — as the
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 the pet.
The film closes with the line: “Relax, it’s iPhone.”
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 says: “Shaky camera… smooth video. Relax, it’s iPhone 14.”
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.
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.
‘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
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.
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-
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.”
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-
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.”
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
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
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.
Replying to speaker 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
in minutes. Rather than “staring at a blank piece of paper”, these highly advanced yet simple AI
tools can help to explore the “limits of your imagination”, Lightcap said.
The power of AI, which Bill
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 and complex ways. Lightcap noted that improvements are being made, including making AI data inputs more localised to align with different cultures and 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 between human and 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.
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.
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-
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.
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, cofounder 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.
“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.
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.”
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-
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’
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
ONE 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
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”
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
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.
“Japan has an opportunity to go back to being an absolute beginner and learn about innovation from the world’s finest creatives”
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
LOUIS MALDONADO
VERONICA ELIZONDO
FRANCISCO CARDENAS
ELIAS WEINSTOCK
IVÁN CALLE
ALDO QUEVEDO & FLOR LEIBASHOFF
HERNÁN CERDEIRO GUSTAVO LAURIA
THE 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
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
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.
THE LAST PHOTO ITV X CALM ADAM&EVEDDB, LONDON UK
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
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
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
A02/067 • SPAIN •
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
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
BRAND • UBER EATS
PRODUCT • UBER EATS
ENTERED BY • MOTHER, LONDON
IDEA CREATION • MOTHER, LONDON
PRODUCTION • BISCUIT FILMWORKS, LONDON
POST PRODUCTION • SELECTED WORKS, LONDON / THE QUARRY, LONDON / NO. 8, LONDON
A08/060 • UNITED KINGDOM •
CONSUMER SERVICES / B2B CAMPAIGN
TITLE • NAILS
BRAND • UBER EATS
PRODUCT • UBER EATS
ENTERED BY • MOTHER, LONDON
IDEA CREATION • MOTHER, LONDON
PRODUCTION • BISCUIT FILMWORKS, LONDON
POST PRODUCTION • SELECTED WORKS, LONDON / THE QUARRY, LONDON / NO. 8, LONDON
A08/061 • UNITED KINGDOM •
CONSUMER SERVICES / B2B CAMPAIGN
TITLE • PARROT
BRAND • UBER EATS
PRODUCT • UBER EATS
ENTERED BY • MOTHER, LONDON
IDEA CREATION • MOTHER, LONDON
PRODUCTION • BISCUIT FILMWORKS, LONDON
POST PRODUCTION • SELECTED WORKS, LONDON / THE QUARRY, LONDON / NO. 8, LONDON
B03/016 • UNITED KINGDOM • HEALTHCARE
TITLE • #PERIODSOMNIA
BRAND • BODYFORM/LIBRESSE
PRODUCT • BODYFORM/LIBRESSE
ENTERED BY • AMV BBDO, LONDON
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
BRAND • WOMEN’S AID
PRODUCT • CHARITY SERVICES
ENTERED BY • HOUSE 337, LONDON
IDEA CREATION • HOUSE 337, LONDON
PRODUCTION • HOUSE 337, LONDON / THE CORNER
SHOP, LONDON
POST PRODUCTION • ABSOLUTE , LONDON
A02/004 • USA •
CONSUMER GOODS
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
A05/027 • USA • RETAIL
TITLE • LEGENDS NEVER DIE
BRAND • LEVI’S
PRODUCT • LEVI’S DENIM
ENTERED BY • DROGA5, PART OF ACCENTURE SONG, NEW YORK
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
A05/028 • USA •
RETAIL
TITLE • FAIR EXCHANGE
BRAND • LEVI’S
PRODUCT • LEVI’S DENIM
ENTERED BY • DROGA5, PART OF ACCENTURE SONG, NEW YORK
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
A08/013 • USA •
CONSUMER SERVICES / B2B
TITLE • THE SINGULARITY
BRAND • SQUARESPACE
PRODUCT • SQUARESPACE
ENTERED BY • SQUARESPACE, NEW YORK
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
B01/037 • USA •
FOOD & DRINK
TITLE • OCEAN SPRAY - POWER YOUR HOLIDAY
BRAND • OCEAN SPRAY
PRODUCT • OCEAN SPRAY JELLIED CRANBERRY
SAUCE
ENTERED BY • ORCHARD, NEW YORK
IDEA CREATION • ORCHARD, NEW YORK
PRODUCTION • OPC PRODUCTION, TORONTO
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
MEDIA • MEDIACOM, NEW YORK
PR • WEBER SHANDWICK, CHICAGO
POST PRODUCTION • WHITEHOUSE POST, CHICAGO / CARBON VFX, CHICAGO / THE WORKS, CHICAGO
B02/020 • USA •
CONSUMER GOODS
TITLE • TRAFFIC STOP
BRAND • NATIVE
PRODUCT • NATIVE
ENTERED BY • M/H, SAN FRANCISCO
IDEA CREATION • M/H, SAN FRANCISCO
PRODUCTION • O POSITIVE, SANTA MONICA
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
ENTERED BY • HOUSE 337, LONDON
IDEA CREATION • HOUSE 337, LONDON
PRODUCTION • HOUSE 337, LONDON / BLINKINK, LONDON
MEDIA • HOUSE 337, LONDON
POST PRODUCTION • ABSOLUTE , LONDON
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
WACHO HITS, BUENOS AIRES
F02/022 • SWEDEN • CHALLENGER BRAND
TITLE • NORMALIZE IT!
BRAND • OATLY
PRODUCT • OATLY (OAT DRINK)
ENTERED BY • OATLY, MALMO
IDEA CREATION • OATLY, MALMO
PRODUCTION • B-REEL FILMS, STOCKHOLM / PAPAYA FILMS, WARSAW / POM PICTURES, GOTHENBURG
F03/045 • BRAZIL • SINGLE-MARKET CAMPAIGN
TITLE • BUSCAPÉ. BACK TO THE CITY OF GOD.
BRAND • TELEFÓNICA VIVO & MOTOROLA
PRODUCT • MOTOROLA EDGE 30 ULTRA 5G
ENTERED BY • VMLY&R, SÃO PAULO
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
F04/093 • JAPAN •
SOCIAL BEHAVIOUR
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
F05/072 • USA •
CULTURAL INSIGHT
TITLE • THE MYTH
BRAND • WIEDEN+KENNEDY PORTLAND
PRODUCT • PSA
ENTERED BY • WIEDEN+KENNEDY, PORTLAND
IDEA CREATION • WIEDEN+KENNEDY, PORTLAND
PRODUCTION • BISCUIT FILMWORKS, LOS ANGELES
POST PRODUCTION • JOINT EDITORIAL, PORTLAND
F07/058 • USA • CORPORATE PURPOSE & CSR
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
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
A01/081 • UNITED KINGDOM • FOOD & DRINK
TITLE • BABY SCAN
BRAND • MARMITE
PRODUCT • MARMITE
ENTERED BY • ADAM&EVEDDB, LONDON
IDEA CREATION • ADAM&EVEDDB, LONDON
PRODUCTION • BISCUIT FILMWORKS, LONDON / WORK EDITORIAL, LONDON / KING HENRY, LONDON
MEDIA • MINDSHARE, LONDON
PR • W COMMUNICATIONS, LONDON
POST PRODUCTION • ABSOLUTE , LONDON / FACTORY STUDIO, LONDON
A02/029 • AUSTRALIA •
CONSUMER GOODS
TITLE • WEATHER ANYTHING
BRAND • MACPAC
PRODUCT • CLOTHING
ENTERED BY • THE MONKEYS, PART OF ACCENTURE
SONG, MELBOURNE
IDEA CREATION • THE MONKEYS, PART OF ACCENTURE SONG, MELBOURNE
PRODUCTION • THE SWEETSHOP, MELBOURNE
POST PRODUCTION • THE EDITORS, MELBOURNE / FIN DESIGN & EFFECTS, MELBOURNE / SQUEAK E. CLEAN STUDIOS, MELBOURNE
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
A05/017 • UNITED KINGDOM •
RETAIL
TITLE • RAISE YOUR ARCHES
BRAND • MCDONALD’S
PRODUCT • MCDONALD’S
ENTERED BY • LEO BURNETT, LONDON
IDEA CREATION • LEO BURNETT, LONDON
PRODUCTION • MOXIE PICTURES, LONDON
MEDIA • OMD WORLDWIDE, LONDON
POST PRODUCTION • FRAMESTORE, LONDON / 750MPH, LONDON
A05/056 • SOUTH AFRICA • RETAIL
TITLE • ANYTHING FOR THE TASTE
BRAND • KFC
PRODUCT • KFC BRAND
ENTERED BY • OGILVY SOUTH AFRICA, JOHANNESBURG
IDEA CREATION • OGILVY SOUTH AFRICA, JOHANNESBURG
PRODUCTION • ROMANCE FILMS, CAPE TOWN
PR • OGILVY SOUTH AFRICA, JOHANNESBURG
A06/010 • THE NETHERLANDS • TRAVEL / LEISURE
TITLE • DON’T WAIT FOR LUCK TO HAPPEN BRAND • DUTCH STATE LOTTERY
PRODUCT • NEW YEAR’S LOTTERY
ENTERED BY • TBWA\NEBOKO, AMSTERDAM
IDEA CREATION • TBWA\NEBOKO, AMSTERDAM
PRODUCTION • TBWA\NEBOKO, AMSTERDAM
POST PRODUCTION • TBWA\NEBOKO, AMSTERDAM / AMBASSADORS, AMSTERDAM / CAPTCHA, AMSTERDAM / PUBLIC AUDIO, AMSTERDAM
A09/019 • UNITED KINGDOM • NFPO / CHARITY / GOVERNMENT
TITLE • THE ULTIMATE VOW BRAND • ALZHEIMER’S SOCIETY
PRODUCT • ALZHEIMER’S SOCIETY (CHARITY)
ENTERED BY • NEW COMMERCIAL ARTS, LONDON
IDEA CREATION • NEW COMMERCIAL ARTS, LONDON
PRODUCTION • BISCUIT FILMWORKS, LONDON
B01/091 • UNITED KINGDOM • 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 • FOOD & DRINK
TITLE • MUSTACHE
BRAND • TWIX
PRODUCT • TWIX
ENTERED BY • DDB, CHICAGO
IDEA CREATION • DDB, CHICAGO
PRODUCTION • BISCUIT FILMWORKS, LOS ANGELES
MEDIA • ESSENCEMEDIACOM, NEW YORK
POST PRODUCTION • BACON, COPENHAGEN / CUT +
RUN, LOS ANGELES / ANOTHER COUNTRY, CHICAGO / HUMAN, LOS ANGELES
B02/025 • USA •
CONSUMER GOODS
TITLE • PRIVACY ON IPHONE - DATA AUCTION
BRAND • APPLE
PRODUCT • IPHONE
ENTERED BY • TBWA\MEDIA ARTS LAB, LOS ANGELES
IDEA CREATION • TBWA\MEDIA ARTS LAB, LOS ANGELES
PRODUCTION • SMUGGLER, LOS ANGELES
MEDIA • OMD, LOS ANGELES
POST PRODUCTION • WHITEHOUSE POST
PRODUCTIONS, LOS ANGELES / THE MILL, LOS ANGELES / BARKING OWL, 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
TITLE • THE SINGULARITY: BTS
BRAND • SQUARESPACE
PRODUCT • SQUARESPACE
ENTERED BY • SQUARESPACE, NEW YORK
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
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
E03/002 • AUSTRALIA •
SCREENS & EVENTS
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 •
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
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 • SINGLE-MARKET CAMPAIGN
TITLE • BABY SCAN
BRAND • MARMITE
PRODUCT • MARMITE
ENTERED BY • ADAM&EVEDDB, LONDON
IDEA CREATION • ADAM&EVEDDB, LONDON
PRODUCTION • BISCUIT FILMWORKS, LONDON / WORK EDITORIAL, LONDON / KING HENRY, LONDON
MEDIA • MINDSHARE, LONDON
PR • W COMMUNICATIONS, LONDON
POST PRODUCTION • ABSOLUTE , LONDON / FACTORY STUDIO, LONDON
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
BRAND • BLOCKBUSTER
PRODUCT • BLOCKBUSTER VIDEO
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
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
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
PRODUCTION • AGOSTO, BARCELONA
MEDIA • PHD MEDIA SPAIN, MADRID PR • NEWLINK, MADRID
F07/037 • DENMARK •
CORPORATE PURPOSE & CSR
TITLE • IRAN-E MAN
BRAND • PAIRI DAEZA
PRODUCT • PAIRI DAEZA SCARVES
ENTERED BY • NEW-LAND, COPENHAGEN
IDEA CREATION • NEW-LAND, COPENHAGEN
PRODUCTION • NEW-LAND, COPENHAGEN
THE FIRST DIGITAL NATION
THE GOVERNMENT OF TUVALU
THE MONKEYS, PART OF ACCENTURE SONG, SYDNEY AUSTRALIA
A01/096 USA
TITANIUM
TITLE BRING HOME THE BUD
BRAND BUDWEISER
PRODUCT BUDWEISER BEER
ENTERED BY WIEDEN+KENNEDY, NEW YORK
IDEA CREATION WIEDEN+KENNEDY, NEW YORK / WIEDEN+KENNEDY, SÃO PAULO / AFRICA CREATIVE DDB, SÃO PAULO
PRODUCTION WIEDEN+KENNEDY, NEW YORK
MEDIA COPA90, LONDON
PR ALLISON+PARTNERS, NEW YORK
POST PRODUCTION SONIC UNION, NEW YORK
A01/143 POLAND
TITANIUM
TITLE WHERE TO SETTLE
BRAND MASTERCARD
PRODUCT WEBSITE ...
ENTERED BY MCCANN POLAND, WARSAW
IDEA CREATION MCCANN POLAND, WARSAW
PRODUCTION MCCANN POLAND, WARSAW
MEDIA MASTERCARD POLAND, WARSZAWA
PR MASTERCARD POLAND, WARSZAWA
POST PRODUCTION MCCANN POLAND, WARSAW
A01/175 MAINLAND CHINA
TITANIUM
TITLE CORONA EXTRA LIME
BRAND CORONA
PRODUCT CORONA EXTRA LIME
ENTERED BY DRAFTLINE, SHANGHAI
IDEA CREATION DAVID, BOGOTÁ / DAVID, NEW YORK / DRAFTLINE, SHANGHAI
PRODUCTION DRAFTLINE, SHANGHAI / MACARENA & CO, BOGOTÁ
PR DRD4, SHANGHAI
POST PRODUCTION MARA, BOGOTÁ
KNOCK KNOCK
KOREAN NATIONAL POLICE AGENCY
CHEIL WORLDWIDE, SEOUL
SOUTH KOREA
A01/154 • UNITED ARAB EMIRATES •
GLASS
TITLE • SCHOOLGIRL NEWSCASTERS
BRAND • EBM
PRODUCT • GIRLS’ EDUCATION
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
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
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
A01/194 • THAILAND •
GLASS
TITLE • LET HER GROW
BRAND • DOVE
PRODUCT • DOVE HAIR CARE
ENTERED BY • UNILEVER, BANGKOK
IDEA CREATION • SELECT START, BANGKOK / EDELMAN, BANGKOK
PRODUCTION • UNDERDOC FILM, BANGKOK / SELECT START, BANGKOK / EDELMAN, BANGKOK
MEDIA • MINDSHARE, BANGKOK
PR • EDELMAN, BANGKOK
THE CARBON FOOTPRINT OF THE PRINT EDITION OF THE LIONS DAILY NEWS ENDS WHEN IT ARRIVES IN CANNES
If one person or 100 people read your printed copy of the Lions Daily News, postdelivery emissions remain at zero. That is not the case if you read it on a phone or tablet
The print and paper industry is one of the lowest industrial greenhouse gas emitters in Europe, accounting for just 0.8% of emissions (European Environment Agency)
The Lions Daily News is printed on responsibly sourced, 100% recyclable paper. If you don’t keep hold of your copy, please make sure it can be recycled
Our printing partner, Riccobono, holds the ‘gold standard’ in environmental certification, being both ISO9001 (1999) and ISO14001 (2012) accredited
Riccobono also holds the French Imprim’Vert certificate, which covers responsible disposal or recycling of waste materials and the non-use of toxic chemicals
All inks used are certified to be of vegetable origin
No chemicals are used in the processing of the printing plates, only water – and after use they are recycled to be used in other industries
We will continue in our efforts to minimise the impact of your Lions Daily News on the environment
PUBLISHER,
DAILY NEWS BOUTIQUE MEDIA INTERNATIONAL LTD.
