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ARGENTINA Clow. Lion of St. Mark. Cannes 2013.

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TODAY’S SEMINARS 10.00 TBWA\ - LEGENDS: A MILLION STORIES 11.00 DIAGEO - KEEPING AHEAD OF THE CREATIVITY CURVE: WHAT’S NEXT FOR AFRICA?

FRIDAY, JUNE 21, 2013

Dawkins adds science to Saatchi Showcase

12.00 THE CANNES DEBATE WITH THE COCA-COLA COMPANY 13.15 IBM - THE ERA OF “YOU”: THE NEW SCIENCE OF GIVING PEOPLE WHAT THEY WANT 14.15 PUBLICIS GROUPE/ HEINEKEN: MAURICE LEVY INVITES ... JEAN-FRANCOIS VAN BOXMEER AND ALEXIS NASARD 15.15 LOWE + PARTNERS - IS THE MACHINE THE MESSAGE? 16.15 BURBERRY - RE-IMAGINING ADVERTISING: THE VALUE OF CREATIVE EXPERIMENTATION 17.15 AEGIS MEDIA - THE FUTURE OF THE HUMAN: BRAND INTERFACE ALL SEMINARS ARE IN THE GRAND AUDITORIUM UNLESS OTHERWISE STATED

PROFESSOR RICHARD DAWKINS

THE SELECTION of Professor Richard Dawkins, the controversial atheist, ethologist and evolutionary biologist, to introduce the 23rd Saatchi & Saatchi New Directors’ Showcase at Cannes could not have been more timely. As the star of Just For Hits, the Showcase’s theatrical piece directed by the award-winning creative team Jonathan Santana and Xander Smith, Dawkins reminded the audience that he invented the word ‘meme’, cur-

‘Bullish’ Sorrell ready for change IN AN age of media fragmentation, cost-cutting and geopolitical power shifts, the industry needs to be alert to the challenges ahead, said Sir Martin Sorrell, chief executive of WPP, speaking exclusively to the Lions Daily News in the run-up to today’s Cannes Debate. “We’re a powerful and growing industry, but we have a number of challenges,” Sorrell said. “Confusion about new media is one; cost is another — we’ve got the balance wrong between growing revenues and containINSIDE BOX

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rently in vogue for describing the method used to spread a trend virally online. Dawkins, who introduced the meme concept in his 1976 book The Selfish Gene, kicked off his presentation with an academic essay comparing the human hereditary gene to the internet meme. Just as the gene ensures the survival of the species, Dawkins declared that the online meme is guaranteeing the longevity of new cultural ideas and fads. Suddenly, however, his talk

veered into the surreal, as he introduced phrases such as “memes spread through human culture”, “memes survive like genes”, and “mutation in the mind”. The stage was then covered by a wide screen transmitting multi-coloured images of Dawkins’ head with his brain popping out. That image was joined by others to form a psychedelic kaleidoscope, ending with a dinosaur snapping up a dolphin in its jaws — natural selection at its most extreme. The popular Directors’ Showcase that followed featured the works of 19 directors. Among the videos that enjoyed a warm audience reception were Max Joseph’s Follow The Frog, Nabil’s Antony And The Johnsons: Cut The World, Ben Liam Jones’ antiabuse message It Follows Me Around, Peter Atencio’s Pulled Over and Joe Pease’s Peter Brings The Shadow To Life.

SIR MARTIN SORRELL

ing costs — and last but not least is the question of geography. The new G8 is going to be very different from the old G8 and it’s going to draw its strength from the BRIC and Next Eleven countries rather than Western Europe and the US — although one should never underestimate the US.” Sorrell has identified 10 issues that he believes to be significant to the future direction of “our trillion-dollar industry”, including globalisation, the shortage of human capital, TURN TO P.3

LOU REED

LOU REED IN CANNES

W

RITER, musician, poet, playwright and rock icon Lou Reed was the subject of yesterday’s Grey Music Seminar, which ended with a standing ovation after 45 minutes of frank responses to questions by Grey’s chief creative officer Tim Mellors. After the seminar Reed met the press, and offered further views on advertising, music, and culture. “These days things have changed,” Reed said. “The advertising industry actually pays you for what you do. And people actually like the ads now, and the music. Ads used to be selling out.” Reed was less bullish about the music business. “Your income as an artist has completely gone,” he said. “Now you make an album and its supposed to be an ad, it’s this thing of starving artists have to stay starving artists, meanwhile Damien Hirst is selling for millions.” So should young people avoid music and target the advertising industry instead? “You should get into the thing that is the best for you and pleasures you the most, it’s not about money. If it was about money you’d be a politician.” Asked ‘What is your Perfect Day?’ he answered: “Today. I like having a dialogue with people who are involved in what I’m involved in.”

FESTIVAL NEWS P.1-13 FILM SHORTLIST P.15 BRANDED SHORTLIST P.27 TITANIUM AND INTEGRATED SHORTLIST P.31 FILM CRAFT SHORTLIST P.33 FOCUS ON BRAZIL P.37 FOCUS ON ARGENTINA P.51 FOCUS ON CHILE P.54 FOCUS ON COLOMBIA P.57 FOCUS ON MEXICO P.60 FILM COMMISSIONS P.62

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Titanic in Southampton. didn’t start its journey

It sailed from Ensenada,

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Mexico’s film production industry. Experience and quality out of this world.

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NEWS

FRIDAY/JUNE 21/2013

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Kulash reveals winner of Saatchi Video Challenge

OK GO singer and guitarist Damian Kulash was one of the judges in this year’s Saatchi & Saatchi Music Video Challenge (MVC), which invited directors to compete through global creative platform Talenthouse. OK Go offered filmmakers the opportunity to create a music video for I’m Not Through, a new song from the Grammy Award-winning band’s forthcoming album.

“The video that won the award did so because the director, Nelson de Castro from the US, really understood our way of doing things,” Kulash said. “But it was a tough call because there were four or five others that were also very good indeed. What swung it in the end was that Nelson’s balance of execution and idea was just right. Some of the

others on the shortlist had better execution, but the idea was not as strong. What we liked about the winning idea was its simplicity.” Kulash is a firm believer in putting himself and the band in unusual situations in order to get the creative juices flowing. “If you sit behind a desk, you’re doing what everyone does and it’s therefore highly likely that your idea will be much the same as anybody else who’s sitting behind a desk,” he said. “But if, for example, you put yourself in the middle of a desert, your solutions are much more likely to be different.” Next up, the band is thinking about live shows to accompany the release of its fourth LP later this year. And once again, Kulash is thinking outside the box. “The music industry has had to change, but live shows have not been affected in the same way,” he said. “Consequently, we’re looking to do something very different. Rather than thinking of a concert in the usual way, we prefer to see it as 2,000 people in the same room for two hours with a smartphone in their pockets.”

overcapacity, the internet’s disruptive capabilities, the power of retailing, government intervention, sustainability and corporate social responsibility. “All these things are also driving the rise of procurement and making more important what we do and the need for differentiation,” he said. Not surprisingly clients are confused, Sorrell said, par-

ticularly as to where and how they should be allocating budgets in today’s fragmented media environment, and how the creative message should be adapted to these new platforms. “It used to be very simple,” Sorrell added. “There were a defined number of media that you could use. A lot of this goes back to what David Ogilvy wrote 60 years ago

about how we were moving from mass to personalised communication. What we’re seeing now is a further fragmentation of that process.” He is also exercised about the latest debate — “if you can call it that” — on payment terms. “The thought that you would choose an advertising agency on the basis of payment terms would be anathema to most people. It’s just

DAMIAN KULASH: “BALANCE OF EXECUTION AND IDEA”

TURN FROM P.1

YOUTUBE GOES BEYOND THE 30-SECOND SPOT ROBERT Kyncl, vice-president, Google, head of content, YouTube, discussed how brands are taking advantage of creative opportunities to engage and entertain audiences and embrace fans with unmissable online content in YouTube’s seminar, Why Be The 30 Second Spot When You Can Be The Whole Show?

LEE CLOW AWARDED LION OF ST. MARK Lee Clow, chairman of TBWA\Media Arts Lab and director of Media Arts, TBWA\Worldwide, is the 2013 recipient of the Lion of St. Mark. He is only the third person to secure this prestigious award, which is for executives who have made an outstanding contribution to creativity in communications. Anyone interested in what this industry legend has to say can see him at a seminar entitled Legends: A Million Stories in the Grand Audi today at 10.00. There will also be a full profile of Clow in the Saturday, June 22, edition of the Lions Daily News. Clow, whose illustrious 40-year career has seen him work with the likes of Adidas, Apple, Energizer and Pepsi, will receive his Lion of St. Mark at the final awards ceremony on Saturday evening, which commences at 19.00.

intellectually the wrong thing to do. You don’t determine the quality of your ideas by whether you pay at 90 days or 120 days as opposed to 30 days…” But despite the challenges ahead, Sorrell is far from pessimistic. “I’m very bullish,” he concluded. “This is a growth industry and we shouldn’t be ashamed of that. But it is cyclical, which we

have to take into account.” Sorrell and fellow panellists Muhtar Kent and Joseph Tripodi of The Coca-Cola Company will be touching on several of these themes, and their impact on creativity, during today’s debate. “We should have a few pearls for this audience of the biggest marketers and advertisers in the world,” Sorrell said.

PUBLISHER RICHARD WOOLLEY EDITOR IN CHIEF JULIAN NEWBY DEPUTY EDITOR DEBBIE LINCOLN SUB EDITOR JO STEPHENS REPORTERS ANDY FRY EMELIA JONES - JULIANA KORANTENG - GARY SMITH LIONSDAILYNEWS.COM SUNNIE ANTONIA PHOTOGRAPHERS YANN COATSALIOU - MICHEL JOHNER LAYOUT DESIGN A NOIR - T: +33 (0)1 48 06 22 22 - AGENCE@ANOIR.FR - ARNAUD HADDOCK - VALERIE CLOONEY - ELIOT ZIVOJINOVIC SYSTEMS CO-ORDINATION PROD EVENTS - SOPHIA ANTIPOLIS - T: +33 (0)4 93 33 12 40 CANNES LIONS DAILY NEWS/EDITORIAL T: 04 92 59 01 91 ADVERTISING IN CANNES 04 92 59 01 88 - JODLIN@BOUTIQUEEDITIONS.COM JERRY ODLIN +44 77 6886 0417 - LISA RAY +44 77 98 662 955 - NICKI WEBBER +1 912 308 6967 KAREN WATTS +1 949 974 71 61 MARKETING KIRSTY WOOLLEY ADVERTISING PRODUCTION ROGER HALL PRINTER IMPRIMERIE TOSCANE - NICE O.RENUCCI@ORANGE.FR GREEN PUBLISHING THE PAPER USED BY BOUTIQUE EDITIONS IS A NATURAL, RECYCLABLE PRODUCT MADE FROM WOOD GROWN IN SUSTAINABLE FORESTS. THE MANUFACTURING PROCESS CONFORMS TO THE ENVIRONMENTAL REGULATIONS OF THE COUNTRY OF ORIGIN PUBLISHED BY BOUTIQUE EDITIONS LTD - 117 WATERLOO ROAD - LONDON SE1 8UL - T: +44 20 7902 1942 - F: +44 20 3006 8796 © 2012 CANNES LIONS

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NEWS

FRIDAY/JUNE 21/2013

PERFUME PERFORMING IN THE GRAND AUDITORIUM YESTERDAY

SWEET SMELL OF HACKING

CIRQUE DU SOLEIL SPREADS ITS WINGS IN CANNES CIRQUE du Soleil and Sid Lee have entered into a joint venture to form Sid Lee Entertainment. The new company will develop and implement entertainment platforms that give consumers an experience closely linked to the brand’s attributes. The announcement was made yesterday in the Grand Auditorium by Dan-

iel Lamarre, Cirque du Soleil’s president and CEO, and Bertrand Cesvet, Sid Lee’s chairman. “Behind the magic of Cirque du Soleil’s shows lies a fantastic team of logistics, touring, and marketing experts who help us produce shows in more than 20 countries around the world and sell more than 14 million tickets every

year,” Lamar re said. “Through Sid Lee Entertainment, Cirque du Soleil is going to use this expertise to serve advertisers with the creation of new platforms which will be specifically developed to bring their brand DNA to life. “In a society that is more mediatised and digitised than ever before, we believe that such real and magical

entertainment experiences will have the most impact on the consumer,” Cesvet said. “The combination of both Sid Lee’s and Cirque du Soleil’s expertise is unprecedented on the market, and we are happy that top-tier brands such as Absolut Vodka and Lole are already developing projects with us.”

HAPPY Hacking: Redefining The Co-creation Frontier was the title of Dentsu’s Cannes session yesterday. “Our model grew out of this mindset of understanding people not just as target consumers, but as audiences,” Yuya Furukawa, executive creative director of Dentsu, said. “It is important to know the kinds of stories and content that people choose to consume, engage with or co-create through hacking. By hacking different domains of collaboration in the world of creativity, you change the dynamic of every relationship and the interaction among all the parties, including the brand, the agency, the consumers and the creators.” After an explanation of how GitHub was used to distribute the 3D motion-capture code of Japanese techno-pop act Perfume, some of the creative results of the 1.5 million visits were shown including manga versions, work by professionals and even a Minecraft rendering of the group’s dance moves. As Dentsu Network’s executive planning director Naoko Katayama, said: “Through this project, the band belongs to everyone.”

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‘DUMB WAYS TO DIE’ FROM MCCANN MELBOURNE WINS YET ANOTHER GRAND PRIX IN THE RADIO LION CATEGORY

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OGILVY GUATEMALA WON A RADIO GOLD LION FOR ‘CHUCHU’ AND ‘UUUUU’ CAMPAIGN FOR LEGO

GRAND PRIX CYBER WINNERS THE PEREIRA & O’DELL SAN FRANCISCO TEAM PRODUCED ‘THE BEAUTY INSIDE’ CAMPAIGN FOR INTEL + TOSHIBA

MEET THE WINNERS

DANIEL SCHWEINZER (LEFT) AND LUKAS LISKE OF BBDO GERMANY DUSSELDORF PICKED UP A DESIGN GOLD LION FOR ‘TREE CONCERT’

RECIPIENTS OF CANNES LIONS CHIMERA PRIZES, AND WINNERS FROM THE PRESS, CYBER, DESIGN AND RADIO CATEGORIES TOOK TO THE STAGE ON WEDNESDAY NIGHT TO RECEIVE THEIR LIONS, NOTABLY GIVING MCCANN MELBOURNE ANOTHER GRAND PRIX TO ADD TO ITS HAUL. ALSO FESTIVAL CEO PHIL THOMAS PRESENTED YOUTUBE’S SALAR KAMANGAR WITH THE INTERNATIONAL LIONS FESTIVAL OF CREATIVITY MEDIA PERSON OF THE YEAR AWARD THE 60TH CANNES LIONS INTERNATIONAL FESTIVAL OF CREATIVITY MEDIA PERSON OF THE YEAR WENT TO SALAR KAMANGAR, CEO, YOUTUBE. THE AWARD WAS PRESENTED BY PHILIP THOMAS (LEFT), CEO, LIONS FESTIVALS

TBWA/MEDIA ARTS LAB LOS ANGELES WITH THEIR PRESS GRAND PRIX FOR APPLE’S IPAD MINI CAMPAIGN

THE OGILVYACTION DUSSELDORF TEAM WON A DESIGN GOLD FOR ‘BACK TO VINYL – THE OFFICE TURNTABLE’, FOR KONTOR RECORDS. JURY PRESIDENT MARY LEWIS JOINED THEM ON STAGE (RIGHT)

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HU’ U’

DRAFTFCB NEW YORK’S TEAM TOOK A CYBER GRAND PRIX FOR THE ‘OREO DAILY TWIST’ CAMPAIGN FOR MONDELEZ INTERNATIONAL

MEG CANGANY OF PLAN INTERNATIONAL USA PICKED UP ONE OF THE CANNES CHIMERA PRIZES. THE AWARD WAS PRESENTED BY TOM SCOTT, DIRECTOR OF GLOBAL BRAND AND INNOVATION, BILL & MELINDA GATES FOUNDATION

THE TEAM FROM SERVICEPLAN MUNICH WHO WON THE DESIGN GRAND PRIX FOR ‘THE SELFSCAN REPORT’

HISASHI FUJII (LEFT) AND EISAKU MUNAKATA OF HAKUHODO TOKYO WIN GOLD FOR ‘KIKUCHI NARUYOSHI : JAZZ’ IN THE DESIGN CATEGORY

FREESTATE’S CREATIVE DIRECTOR, ADAM SCOTT PICKED UP A DESIGN GOLD LION FOR ‘DUNE GRASS’, A PROJECT FOR BLACKPOOL CITY COUNCIL IN THE UK

THE TEAM FROM ALMAPBBDO SAO PAULO, WHO WON A PRESS GOLD LION FOR ‘VIEWS’, ‘TEST’ AND ‘CHART’, WITH JURY PRESIDENT MARCELLO SERPA ON THE RIGHT

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NEWS

FRIDAY/JUNE 21/2013

Media Academy aims to nurture next-gen talent

MARIA LUISA FRANCOLI: “MORE TRAINING IS KEY”

MARIA Luisa Francoli, formerly global CEO of MPG and Havas Media North America, is the dean of the first ever Cannes Lions Young Media Academy. Explaining why she agreed to become involved in the initiative, she said: “Young talent is one of the most important things at media agencies and I’m passionate about promoting that fact. The Festival provides a great opportunity to do this because of the pool of talent, brains

and inspiring people that attend it. Academy delegates are exposed to key people who can be role models and sources of inspiration in their everyday jobs.” The week is a mix of classroom tuition, visits from guest speakers and seminar attendance. The kind of issues explored include: understanding the ways clients think and act, deconstructing analytics and metrics in a creative advertising world, understanding the challenges of

social media and measuring ROI; and the technological evolution of media, channels and consumers’ behaviour. With media now such a key part of the Festival, a lot of attention is also paid to the Media Awards entries. “We have had visits from Media Lions winners, from a member of the Media jury and from the Young Lions winners. That provided an insight into the way the process works,” she said. Francoli has been impressed by the calibre and capabilities of the young people in her inaugural Academy, which is sponsored by BBC Advertising. But she believes the media industry as a whole could do more to encourage its emerging talent: “Young talent is not as well nurtured in agencies as it could be. More training is key if we are to nourish the talent that is coming through.” Arguably this is more important than ever, given the complexity of the media executive’s role these days. “They still need an understanding of the basics like GRP [gross ratings point], reach and frequency, but they also need a strong technological basis and an underst anding of how social works,” Francoli said. “In addition, their job is complicated by the closer relationship between creativity and media.”

TRICKS OF THE TRADE A LID on the secrets of magic was lifted by Marco Tempest, world-renowned techno-illusionist and speaker at Starcom MediaVest Group presentation of a special TED session in Cannes. “Magicians are always prototyping the future,” Tempest said, strapping on augmented reality goggles and conducting a card trick where cards floated, and characters danced. How to innovate magic in the digital age? “With collaboration rather than secrecy. Like in science, if we share our knowledge and research, then magic will move forward faster.”

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Jim Stengel helps young marketers to do it better AS FORMER global marketing officer for P&G, Jim Stengel made it to the summit of the marketing business. Now he is passing on his knowledge at The Jim Stengel Young Marketers Academy, back at the Festival for the third year. Explaining why, Stengel said: “It gives me tremendous personal satisfaction to send these young people home transformed. I get letters from previous Academy attendees telling me how it changed them.” In headline terms, Stengel says the aim of the six-day course, which is sponsored by the Mobile Marketing Association, is to “make young marketers better at what they do. We want to send them back to their companies as effective leaders. We stretch their capabilities so that they go back with a sense of dissatisfaction with the status quo; with a clear sense that their standards have changed.” The six days are made up of a combination of instructional classes, visits from guest speakers and engagement with the Festival content itself. But with just 55 places available, competition to get on the course is tough. Stengel said that some companies have come up with innovative ways of selecting whom to send: “Unilever, for example, organised an internal competition which involved producing a three-minute video brief. By doing so, it didn’t just reward a member of its global workforce, it also sent out a message that the ability to create effective briefs is important.” So how does he think the challenges facing today’s crop of young marketers compares with those facing previous generations? “I think the strategic fundamentals are the same — areas like understanding your competitive advantages and making sure you keep up an innovation pipeline. But the changes include the tremendous leap towards personalisation and the mix of online and offline commerce that we see now. I also think standards are going up. There used to be a lot of slop and waste in the industry, but there’s no tolerance for that now.” The course finishes tomorrow, but Stengel’s Festival will not be over. Not content with helping young marketers, he is also heading the first ever Cannes Lions CMO Accelerator Programme, also sponsored by the MMA. With 25 chief marketing officers signed up, Stengel and a list of guest speakers that includes Coca-Cola’s Joe Tripodi will explore the issues confronting their brands. Spread over two days, the aim is to send CMOs back to their companies better prepared to deliver sustainable and enduring brand value. ”It’s a pilot project,” Stengel said. “What we want to do is help create the next generation of outstanding leaders in the marketing discipline.” JIM STENGEL: “STANDARDS HAVE CHANGED”

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BEER OR

CONFERENCE? FOR ONCE, YOU WON’T HAVE TO CHOOSE.

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news

friday/june 21/2013

Argentina is celebrating 80 years of creativity in Cannes

TEAM ARGENTINA: PETA RIVERO Y HORNOS (LEFT), GABRIEL MALONEAY, DARIO STRASCHNOY, MAXI ITZKOFF, MARIANO SERKIN AND PABLO BATTLE

ARGENTINA’s Asociacion Argentina de Publicidad (AAP) is celebrating its 80th anniversary here in Cannes, surrounded by evidence of the country’s seemingly limitless creativity. “Our Argentine and European roots, good education and

mixture of immigrants has formed a particular kind of person with a very pronounced character who works hard. That is what underpins our creativity,” Hernan Ponce of Ponce Buenos Aires, said. According to Y&R Argentina’s

Dario Straschnoy, two phases led to the current situation: “The Nineties were a period of incubation where the work was uniquely focused on the local market. And then, from 2002 onwards when the currency meltdown happened, we were forced to open up and look for work abroad,” he said. Argentinians thrive in tough times. “The motor for the strong and individual work that we produce is the rollercoaster nature of our economy. I’d say that, as a nation, we are always looking for creative solutions in everything we do,” Cravero’s Gabr iel Maloneay said. “When money is tight you

have to be creative.” According to Peta Rivero Y Hornos of Human, advertising is a national obsession: “Argentina is the 26th largest country in the world with a population of just over 40 million, but has been a fixture in the top-five of the Gunn Report for years.” Pablo Battle of DDB Argentina sees another side to the Argentine character that he considers to be important: “We’re a mixture of pragmatic but naturally enthusiastic, and we are driven by passion,” he said. “There are 70 agencies here — way more than the local market could support — which is a good indicator of how much work the country does for foreign clients.”

Happiness is pushing the boundaries KAREN Corrigan, Happiness Brussels and Bliss mobile&interactive co-founder and CEO, has fulfilled her company’s mission statement at the 60th Cannes Lions International Festival Of Creativity. “In 2005, we said our aim was to be regarded as a company that pushed the creative boundaries of marketing and communications,” Corrigan said. “It makes me happy to say our ‘IQ font’ campaign for Toyota has been included in

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Taschen’s Game Changers, which is a book featuring some 150 pieces of work that have changed the advertising industry forever.” Happiness’ aim to create a new genre of agency is illustrated by its latest mobile app, Give Your Calories, for Action Against Hunger. “I’m so proud of this piece of work,” Corrigan said. “I think it encapsulates many of the trends we are seeing in Cannes. Mobile is definitely the category of the

KAREN CORRIGAN: MOBILE IS THE FUTURE

future. I believe we are moving from product design to service design. Now, it’s about understanding how consumers live and creating a service to make

their lives happier.” Give Your Calories allows you to donate the calories of your snacks to people that really need them by taking a picture of an item of food with your mobile. The app then translates the calorific content of the food into a monetary donation. “I don’t like advertising,” Corrigan added. “To create an idea that will change the world, it has to be bigger than an advertising idea.”

UNRULY’S SCOTT BUTTON: PREDICTING THE FUTURE

PREDICTING SOCIABILITY

U

NRULY’s co-founder and CEO Scott Button spent two years researching the DNA of a social video hit, and codifying a proprietary algorithm to give brands the opportunity to evaluate their content and predict its reception online. With the social web growing exponentially, understanding what content will ignite engagement with consumers and deliver ROI is more valuable than ever. “ShareRank uses consumer panels to watch content and provide feedback that allows us to predict the future,” Button said. In yesterday’s The Golden Rules Of Advertising workshops, Button explained why video content gets shared and asked delegates to respond to campaigns while measuring their feedback against ShareRank’s predictions. “We also activate campaigns,” Button said. “We have 25,000 media partners and four million media outlets, giving us access to a billion unique users. As a global business, we can execute campaigns across multiple markets.” Unruly has delivered, tracked and audited 2.8 billion video views across 2,500-plus social video campaigns for over 400 brands, including Coca-Cola, T-Mobile and Microsoft.

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FEATURE

FRIDAY/JUNE 21/2013

STRETCHING THE LIMITS LEGENDARY commercials director Joe Pytka is Film Craft jury president for the 60th Cannes Lions International Festival Of Creativity. Or as he put it before the judging process started: “Let me get this straight, I have to fly to Cannes, then get locked in a dark room with a bunch of people that I don’t even know, and watch commercials for five days.” He told Lions Daily News editor Julian Newby that to be chosen as president is “both an honour, and a huge responsibility. Cannes has always been an important event to further the knowledge and progress of our craft. I’ve resisted being a judge in the past because I’m not comfortable making public judgments of others’ work,” but he added: “As president I don’t have that responsibility, but I can contribute by ensuring that the judging proceeds fairly. I can also learn from my fellows’ perception of the work. There is no better way to learn than to observe good or

great work. It will be a rejuvenating experience for me.” Pytka said that recent improvements in technology, both in production and presentation have been “astounding”. But it’s put a burden on the creators of the work, “in my case, the filmmakers, to rise to the level of the new technologies. For the first time in visual history, you can achieve whatever you can conceive. The tools are changing so rapidly, however, that they are sometimes used improperly and indiscriminately. The idea is sometimes submerged, but it remains the most important element.” Pytka said he has also observed the abuse of digital technology. “Too many ideas are smothered in technique and many times technique is used instead of an idea. One of the issues is the commodification of the industry with many artists not being artists at all, just technological applicators adhering to corporate

JOE PYTKA “TOO MANY IDEAS ARE SMOTHERED IN TECHNIQUE AND MANY TIMES TECHNIQUE IS USED INSTEAD OF AN IDEA” systems.” He added: “I want to look for work that stretches the limits of what has been done but for honest reasons. It should have an artistic component and represent a vision of the world that is true and good. It should also stand scrutiny to all audiences since there is no selection of what an audience is composed of.” Pytka said that a lot of

work is “cannibalised and compromised” by the proliferation of media. “Studies have shown that imagery is compromised if used on a computer. Modern flat screen television has an astonishing power but if the primary use is a computer, then the visualisation has to be compromised since close-ups are more important than long shots.” He added: “It seems that a great many contemporary filmmakers are conflicted and that may be that creativity has always been a singular effort and that excessive access in the digital world has compromised that. Too many cooks…”

Dianne Bramhill: Tel: +27 21 424 4495 Mobile: +27 82 5506911 production@capedirect.com www.capedirect.com

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feature

friday/june 21/2013

‘Film will always be a powerful force’ SIR JOHN Hegarty, founder of BBH, is film jury president for the 60th Cannes Lions International Festival of Creativity. The firstever recipient of the Lion of St Mark spoke to Julian Newby ahead of the long process of deciding on tomorrow’s Film winners

How does it feel to be named jury president this year? JH: I’m honoured really — it’s Cannes’ 60th anniversary, it’s a great moment in the history of the Festival. I think the other thing to remember is that film, and specifically television, is by far and away the biggest medium in the Festival, and in fact in advertising globally.

Will film always remain the most important medium by which to communicate a brand? JH: If you stand back from that and if you look at what advertising tries to do … you know you’ve got to separate out persuasion and promotion, haven’t you? In the last 10 or 15 years we seem to have become obsessed, because of digital technology, with promotion — as opposed to persuasion, which is one of the most powerful forces in advertising. Now, you have got to have both, you can’t have one without the other, but because persuasion involves storytelling of some kind or another, film — or some visual medium associated with film — will always be one of the most powerful persuasive media available to an advertiser. I can’t see that going away considering that storytelling has been a profound part of human development since the beginning of time. And I can’t believe that the last 15 years of digital technology is going to change that. Where we watch things, how

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we watch things, and how we can tell a story will change. Technology always impacts on creativity, that’s what makes it exciting. But film and television will always be powerful forces, I believe.

What work has impressed you recently? JH: I have to say I think there has been a paucity of great ideas. I could talk about our own work but that would be absurd. And I look at what Wieden are doing and I’m very impressed with their television output, or film output if you want to call it that, with Old Spice and, still, what they do with Nike. But I think we’re seeing fewer agencies concentrate on creating great, dramatic television ideas that change the way that people feel or think, and become a part of culture. Which is what you’re trying to do with a brand — you’re trying to create an importance for brands so that it has a greater relevance in people’s lives. Television or film is one way of doing that, but it’s very, very difficult and we seem to have retreated from doing that. Instead we’re saying ‘Oh it’s too difficult, we won’t do it, let’s go and do something digital’.

example of how that’s being done in digital media? I can’t.’ Digital is fantastic, don’t get me wrong, I’m not in any way being a luddite about this; I absolutely love what’s happening with technology today but we mustn’t forget the powerful medium available to us. And it’s not my opinion, it’s the opinion of the audience we talk to. It’s the opinion of advertisers who spend $200bn a year on TV versus every other type of advertising medium.

Old Spice was a social media hit too… JH: Absolutely. That’s the point. An idea has to start somewhere and one of the great places to do that is on film or on TV, in some form of broadcast and then push it out, getting social networking to pick up on it — and then people who haven’t seen it go and see it on YouTube, and so you spread your message far and wide. People say that digital media have revolutionised the advertising business but I think that’s wrong, I think it’s liberated advertising. Revolutionised implies that everything is different and it’s not. I’d much rather say that it’s liberated the creative process, so that we

13

can now have an idea, and we can now put it out there on the social networks, and then we can pick up on it, play with it and have fun with it.

What else do you hope to do while you’re in Cannes? JH: Get through it! That’s the most important thing. But I think it’s also very important that you have a great jury, a jury that genuinely looks at the work, doesn’t block-vote, doesn’t push their own agenda, but gives us a truly honest view about what’s good and great out there, for people to look up to and admire. And I’ll be helping and guiding and be a consultant for them if they have any problems.

Old Spice re-invented the TV ad and re-invented the product at the same time… JH: Yes it did, and give me another example of that being done in digital media. I can’t, and I keep asking people, ‘Can you give me an

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FILM SHORTLIST CAT

TITLE

CLIENT

PRODUCT

ENTRANT/AGENCY

PRODUCTION COMPANY

COUNTRY

SAVOURY FOODS A01/014 BEDROOM

UNILEVER

RAGU

BARTON F. GRAF 9000 NEW YORK

@RADICAL.MEDIA NEW YORK

USA

A01/015 CHEEK

UNILEVER

RAGU

BARTON F. GRAF 9000 NEW YORK

@RADICAL.MEDIA NEW YORK

USA

A01/016 HAMSTER

UNILEVER

RAGU

BARTON F. GRAF 9000 NEW YORK

@RADICAL.MEDIA NEW YORK

USA

A01/017 FARMER’S LAD

HOVIS

HOVIS

ACADEMY FILMS LONDON

ACADEMY FILMS LONDON

UK

A01/018 HANK

KERRY FOODS

MATTESSONS

SAATCHI & SAATCHI LONDON

RATTLING STICK LONDON

UK

A01/020 MOOSCLES

APPLEGATE

HOT DOG

TAXI NEW YORK

STATION FILM NEW YORK

USA

A01/021 FRIED STEAK

APPLEGATE

HOT DOG

TAXI NEW YORK

STATION FILM NEW YORK

USA

A01/022 SHOT AND A STEER

APPLEGATE

HOT DOG

TAXI NEW YORK

STATION FILM NEW YORK

A01/023 GOOD FOOD

LURPAK/ARLA

LURPAK UK

GORGEOUS/WIEDEN+KENNEDY LONDON GORGEOUS LONDON

USA UK

A01/036 THE PROFITEERS

FIORUCCI FOOD

COLD CUTS

MCCANN WORLDGROUP MILAN

MERCURIO CINEMATOGRAFICA MILAN

ITALY

A01/038 WEAVE YOUR MAGIC

ARLA

LURPAK

WIEDEN+KENNEDY LONDON

OUTSIDER LONDON

UK

A01/050 TOKYO

ABBA SEAFOOD

KALLES

FORSMAN & BODENFORS GOTHENBURG ACNE PRODUCTION STOCKHOLM

A01/061 FIREWORKS OF TASTE

LACTALIS INTERNATIONAL

PRESIDENT BUTTER

MEMAC OGILVY DUBAI

A01/062 THE PACKAGE

TINE

BRUNOST (BROWN CHEESE)

TRY/APT ADVERTISING AGENCY OSLO BACON OSL OSLO

A01/067 THE CHASE

GREY POUPON

GREY POUPON

CP+B BOULDER

HUNGRY MAN NY/CUT + RUN S. MONICA/JSM MUSIC NY

USA

A01/074 THEY KNOW IT

CALVO

CALVO TUNA

MCCANN ERICKSON MADRID

WIND MADRID

SPAIN

A01/086 DUSTY

REDISCOVER DAIRY

DAIRY

FOXP2 CAPE TOWN

PLANK CAPE TOWN

SOUTH AFRICA

A01/089 BATTLE

CALIFORNIA MILK PROCESSING BOARD MILK

GRUPO GALLEGOS HUNTINGTON BEACH

REBOLUCION /BITT ANIM. + VFX BUENOS AIRES/JUICE WEST S. MON. USA

A01/090 PI ATA

CALIFORNIA MILK PROCESSING BOARD MILK

GRUPO GALLEGOS HUNTINGTON BEACH

REBOLUCION/BITT ANIM. + VFX BUENOS AIRES/JUICE WEST S. MON. USA

A02/031 SAMPLE LADY

MARS CHOCOLATE NORTH AMERICA

SNICKERS PEANUT BUTTER SQUARED

BBDO NEW YORK

BISCUIT FILMWORKS LOS ANGELES

A02/072 RACE

ARCOR

TOPLINE

Y&R BUENOS AIRES

AGOSTO BUENOS AIRES

ARGENTINA

A02/085 NIGHT VISION

MONDELEZ

WHEAT THINS

TBWA\CHIAT\DAY NEW YORK

SMITH AND JONES FILMS LOS ANGELES

USA

A02/088 THE INTERVENTION

MENTOS

MENTOS PURE FRESH GUM/CONFECTIONARY BBH LONDON

BISCUIT FILMWORKS LONDON

UK

BIG KAHUNA FILMS DUBAI

SWEDEN UAE NORWAY

SWEET FOODS & SNACKS USA

A02/090 TECHNOLOGY

MENTOS

MENTOS CANDY/CONFECTIONARY

BBH LONDON

BISCUIT FILMWORKS LONDON

UK

A02/093 LIFE RAFT

OREO

OREO COOKIE

WIEDEN+KENNEDY PORTLAND

MJZ LOS ANGELES

USA USA

A02/094 WHISPER FIGHT

OREO

OREO COOKIE

WIEDEN+KENNEDY PORTLAND

MJZ LOS ANGELES

A02/096 FIGURINES

MARS/WRIGLEY

SKITTLES

DDB CHICAGO

STATION FILM LOS ANGELES

USA

A02/104 PUPPET :30

MONDELEZ

WHEAT THINS

TBWA\CHIAT\DAY NY/BEING NY NY

SMITH AND JONES FILMS LOS ANGELES

USA

A03/024 CLOCK

DIAGEO

GUINNESS

ABBOTT MEAD VICKERS BBDO LONDON GORGEOUS LONDON

UK

A03/025 CLOUD

DIAGEO

GUINNESS

ABBOTT MEAD VICKERS BBDO LONDON GORGEOUS LONDON

UK

A03/036 INFART

PABST BREWING CO.

OLD MILWAUKEE

FUNNY OR DIE LOS ANGELES

FUNNY OR DIE’S GIFTED YOUTH LOS ANGELES

USA AUSTRALIA

ALCOHOLIC DRINKS

A03/047 BEER CHASE

CARLTON & UNITED BREWERIES

CARLTON DRAUGHT

CLEMENGER BBDO MELBOURNE

THE SWEET SHOP MELBOURNE

A03/048 RIVER OF BLONDE

CARLTON & UNITED BREWERIES

PURE BLONDE

CLEMENGER BBDO MELBOURNE

REVOLVER/ WILL O’ROURKE SYDNEY

AUSTRALIA

A03/052 COINCIDENCE

CARLTON & UNITED BREWERIES

CARLTON MID

CLEMENGER BBDO MELBOURNE

FINCH SYDNEY/FURLINED SANTA MONICA

AUSTRALIA

A03/077 THE SWITCH

HEINEKEN NETHERLANDS

HEINEKEN BEER

TBWA\NEBOKO AMSTERDAM

STINK LONDON

NETHERLANDS

A03/080 THE EXPRESS

HEINEKEN

HEINEKEN

WIEDEN+KENNEDY AMSTERDAM

MJZ LONDON

NETHERLANDS

A03/092 NO SOUND

HEINEKEN USA

A03/093 WHATEVER’S COMFORTABLE BEACH SOUTHERN COMFORT

NEWCASTLE BROWN ALE

DROGA5 NEW YORK

WEBBER REPRESENTS/CUT+RUN N/THE MILL NEW YORK

USA

SOUTHERN COMFORT

WIEDEN+KENNEDY NEW YORK

BISCUIT FILMWORKS NEW YORK

USA

NON-ALCOHOLIC DRINKS A04/013 SUNSHINE BUBBLE

MURRAY GOULBURN CO-OPERATIVE DEVONDALE FAST START LIQUID BREAKFAST

DDB MELBOURNE MELBOURNE

PRODIGY SYDNEY

AUSTRALIA

A04/014 MANCHILD

MURRAY GOULBURN CO-OPERATIVE DEVONDALE FAST START LIQUID BREAKFAST DDB MELBOURNE MELBOURNE

PRODIGY SYDNEY

AUSTRALIA

A04/024 FIXATION

GATORADE

BRAND

TBWA\CHIAT\DAY LOS ANGELES

MJZ LOS ANGELES

USA

A04/047 BURN VISIONS

THE COCA-COLA COMPANY

BURN ENERGY DRINK

PUBLICIS ITALY MILAN

SMUGGLER NEW YORK

ITALY

A04/059 BABY AND ME

EVIAN

EVIAN

BETC PARIS

ICONOCLAST PARIS

FRANCE

A04/066 UNLOCK THE 007 IN YOU

COKE ZERO

NON ALCOHOLIC DRINK

MARCEL PARIS

SONNY LONDON/PREMI RE HEURE SAINT-CLOUD

FRANCE

A04/082 VIDEO GAMES

COCA-COLA NORTH AMERICA

COKE ZERO

DROGA5 NEW YORK

SMUGGLER HOLLYWOOD/THE MILL NY/MACKENZIE CUTLER NY

USA

A04/087 PALS

ROBINSONS

ROBINSONS ORANGE SQUASH

BBH LONDON

ACADEMY FILMS LONDON

UK

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FILM SHORTLIST CAT

TITLE

CLIENT

17

PRODUCT

ENTRANT/AGENCY

PRODUCTION COMPANY

COUNTRY

P&G

TIDE DETERGENT

SAATCHI & SAATCHI NEW YORK

HUNGRY MAN NEW YORK

USA

BEHR

BEHR

AN NIMO MEXICO CITY

CENTRAL FILMS MEXICO CITY

MEXICO

HOUSEHOLD: CLEANING PRODUCTS A05/011 MIRACLE STAIN

HOUSEHOLD: OTHER A06/010 OLD MAN

HOME APPLIANCES & FURNISHINGS A07/009 SUMMER HATER

BGH

AIR CONDITIONER

DEL CAMPO SAATCHI & SAATCHI BUENOS AIRES

MJZ LONDON/LABHOUSE BUENOS AIRES

ARGENTINA

A07/010 THE BIG STEAL

BGH

MICROWAVES

DEL CAMPO SAATCHI & SAATCHI BUENOS AIRES

PRIMO BUENOS AIRES

ARGENTINA

A07/012 IT’S MINE

BGH

MICROWAVES

DEL CAMPO SAATCHI & SAATCHI BUENOS AIRES

PRIMO BUENOS AIRES

ARGENTINA

A08/002 YOUNG AND MATURE

UNILEVER

AXE YOUNG AND AXE MATURE PONCE BUENOS AIRES

LANDIA BUENOS AIRES

ARGENTINA

A08/036 FIREMAN

AXE

AXE APOLLO SPACE ACADEMY BBH LONDON

BISCUIT FILMWORKS LONDON

UK

A08/037 LIFEGUARD

AXE

AXE APOLLO SPACE ACADEMY BBH LONDON

BISCUIT FILMWORKS LONDON

UK

A08/038 BED

OLD SPICE

PERSONAL CARE

WIEDEN+KENNEDY PORTLAND

SMITH AND JONES FILMS LOS ANGELES

USA

A08/041 JET SKI

OLD SPICE

PERSONAL CARE

WIEDEN+KENNEDY PORTLAND

SMITH AND JONES FILMS LOS ANGELES

USA

A09/011 EMMA

DELIPAPIER

LE TREFLE

LEO BURNETT FRANCE PARIS

HENRY DE CZAR PARIS

FRANCE

A09/012 CAMERA SHY

UNILEVER

DOVE BRAND

OGILVY & MATHER LONDON

EPOCH LONDON

UK

A10/019 MAN

BOEHRINGER INGELHEIM

ANADOR

BORGHI/LOWE S O PAULO

CINE CINEMATOGRAFICA S O PAULO

BRAZIL

A10/027 MARATHON

ESSILOR

OPTIFOG

HEREZIE PARIS

OPC/KNUCKLEHEAD TORONTO

FRANCE

A10/032 BATTING PRACTICE CENTER 1

MURATA KAMPO CHINESE HERBAL MEDICINE BAIKA GOFUKU GAN

DENTSU CREATIVE X TOKYO/DENTSU TOKYO

DENTSU CREATIVE X TOKYO

JAPAN

A10/033 BATTING PRACTICE CENTER 2

MURATA KAMPO CHINESE HERBAL MEDICINE BAIKA GOFUKU GAN

DENTSU CREATIVE X TOKYO/DENTSU TOKYO

DENTSU CREATIVE X TOKYO

JAPAN

A10/034 BATTING PRACTICE CENTER 3

MURATA KAMPO CHINESE HERBAL MEDICINE BAIKA GOFUKU GAN

DENTSU CREATIVE X TOKYO/DENTSU TOKYO

DENTSU CREATIVE X TOKYO

JAPAN

A10/035 MUSTANG

LILLY CANADA

CIALIS

DDB CANADA/TORONTO

IMPORTED ARTISTS FILM COMPANY TORONTO

CANADA

A10/036 CURFEW

LILLY CANADA

CIALIS

DDB CANADA/TORONTO

IMPORTED ARTISTS FILM COMPANY TORONTO

CANADA

ANONYMOUS CONTENT CULVER CITY

COSMETICS & BEAUTY

TOILETRIES

PHARMACY

CLOTHING, FOOTWEAR & ACCESSORIES A11/005 VOICES

NIKE

NIKEWOMEN

USA

A11/023 THREAD

LEVI STRAUSS & CO.

FALL 2012 COLLECTION

WIEDEN+KENNEDY PORTLAND

PARK PICTURES NEW YORK

USA

A11/024 JOGGER

NIKE

NIKE

WIEDEN+KENNEDY PORTLAND

PARK PICTURES SANTA MONICA

USA

A11/039 CAT FLAP

NIKE

NIKE FREE

FURLINED S. MONICA/WIEDEN+KENNEDY PORTLAND FURLINED SANTA MONICA

USA

A12/002 SWOPPED AT BIRTH

TIGER BRANDS

UNIBALL

TBWA\HUNT\LASCARIS JOHANNESBURG

FRIEZE FILMS JOHANNESBURG

SOUTH AFRICA

A12/003 BUST YOU OUT

TIGER BRANDS

UNIBALL

TBWA\HUNT\LASCARIS JOHANNESBURG

FRIEZE FILMS JOHANNESBURG

SOUTH AFRICA

A12/006 FAMILY TIES

MONTEGO PET NUTRITION

BRAND

HUMAN.KIND ADVERTISING JOHANNESBURG

VELOCITY FILMS CAPE TOWN

SOUTH AFRICA

MISCELLANEOUS

CARS A13/001 OFFROAD

DAIMLER/SMART

SMART FORTWO

BBDO GERMANY BERLIN

BIGFISH FILMPRODUKTION BERLIN

GERMANY

A13/002 PUBLIC TRANSPORT

DAIMLER/SMART

SMART FORTWO

BBDO GERMANY BERLIN

BIGFISH FILMPRODUKTION BERLIN

GERMANY

A13/040 TEST DRIVE CINEMA

CITR EN

CITR EN NEW C3

HAVAS WORLDWIDE S O PAULO

YELLOW STUDIOS S O PAULO

BRAZIL

A13/046 PROM

AUDI OF AMERICA

BRAND

VENABLES BELL & PARTNERS SAN FRANCISCO

SMUGGLER HOLLYWOOD

USA

A13/053 SOUL :60

MERCEDES-BENZ

CLA

MERKLEY + PARTNERS NEW YORK

MJZ LOS ANGELES

USA

A13/060 FEELS GOOD INSIDE

TOYOTA - NEW ZEALAND

COROLLA

SAATCHI & SAATCHI AUCKLAND

GOODOIL FILMS SYDNEY

NEW ZEALAND

A13/061 SENIOR REBELS

VOLKSWAGEN GROUP IMPORT COMPANY

VOLKSWAGEN BEETLE

DDB GUOAN BEIJING

SWEET SHOP BANGKOK/BLACK + CAMERON SHANGHAI CHINA

A13/062 BABY

VOLKSWAGEN

VW JETTA

DEUTSCH LOS ANGELES

BISCUIT FILMWORKS LOS ANGELES

USA

A13/063 GET HAPPY

VOLKSWAGEN

VW BEETLE

DEUTSCH LOS ANGELES

MJZ LOS ANGELES

USA

A13/064 MASK

VOLKSWAGEN

VW BEETLE

DEUTSCH LOS ANGELES

BISCUIT FILMWORKS LOS ANGELES

USA

A13/067 CRASH

VOLKSWAGEN

VW PASSAT

DEUTSCH LOS ANGELES

IMPERIAL WOODPECKER SANTA MONICA

USA

A13/068 TOSS

VOLKSWAGEN

VW PASSAT

DEUTSCH LOS ANGELES

IMPERIAL WOODPECKER SANTA MONICA

USA

A13/069 LAUGH

VOLKSWAGEN

VW JETTA

DEUTSCH LOS ANGELES

BISCUIT FILMWORKS LOS ANGELES

USA

A13/072 LA VITA BELLA

FIAT

FIAT CINQUECENTO

WIEDEN+KENNEDY SHANGHAI

@RADICAL.MEDIA SANTA MONICA

CHINA

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FILM SHORTLIST CAT

TITLE

CLIENT

17

PRODUCT

ENTRANT/AGENCY

PRODUCTION COMPANY

COUNTRY

P&G

TIDE DETERGENT

SAATCHI & SAATCHI NEW YORK

HUNGRY MAN NEW YORK

USA

BEHR

BEHR

AN NIMO MEXICO CITY

CENTRAL FILMS MEXICO CITY

MEXICO

HOUSEHOLD: CLEANING PRODUCTS A05/011 MIRACLE STAIN

HOUSEHOLD: OTHER A06/010 OLD MAN

HOME APPLIANCES & FURNISHINGS A07/009 SUMMER HATER

BGH

AIR CONDITIONER

DEL CAMPO SAATCHI & SAATCHI BUENOS AIRES

MJZ LONDON/LABHOUSE BUENOS AIRES

ARGENTINA

A07/010 THE BIG STEAL

BGH

MICROWAVES

DEL CAMPO SAATCHI & SAATCHI BUENOS AIRES

PRIMO BUENOS AIRES

ARGENTINA

A07/012 IT’S MINE

BGH

MICROWAVES

DEL CAMPO SAATCHI & SAATCHI BUENOS AIRES

PRIMO BUENOS AIRES

ARGENTINA

A08/002 YOUNG AND MATURE

UNILEVER

AXE YOUNG AND AXE MATURE PONCE BUENOS AIRES

LANDIA BUENOS AIRES

ARGENTINA

A08/036 FIREMAN

AXE

AXE APOLLO SPACE ACADEMY BBH LONDON

BISCUIT FILMWORKS LONDON

UK

A08/037 LIFEGUARD

AXE

AXE APOLLO SPACE ACADEMY BBH LONDON

BISCUIT FILMWORKS LONDON

UK

A08/038 BED

OLD SPICE

PERSONAL CARE

WIEDEN+KENNEDY PORTLAND

SMITH AND JONES FILMS LOS ANGELES

USA

A08/041 JET SKI

OLD SPICE

PERSONAL CARE

WIEDEN+KENNEDY PORTLAND

SMITH AND JONES FILMS LOS ANGELES

USA

A09/011 EMMA

DELIPAPIER

LE TREFLE

LEO BURNETT FRANCE PARIS

HENRY DE CZAR PARIS

FRANCE

A09/012 CAMERA SHY

UNILEVER

DOVE BRAND

OGILVY & MATHER LONDON

EPOCH LONDON

UK

A10/019 MAN

BOEHRINGER INGELHEIM

ANADOR

BORGHI/LOWE S O PAULO

CINE CINEMATOGRAFICA S O PAULO

BRAZIL

A10/027 MARATHON

ESSILOR

OPTIFOG

HEREZIE PARIS

OPC/KNUCKLEHEAD TORONTO

FRANCE

A10/032 BATTING PRACTICE CENTER 1

MURATA KAMPO CHINESE HERBAL MEDICINE BAIKA GOFUKU GAN

DENTSU CREATIVE X TOKYO/DENTSU TOKYO

DENTSU CREATIVE X TOKYO

JAPAN

A10/033 BATTING PRACTICE CENTER 2

MURATA KAMPO CHINESE HERBAL MEDICINE BAIKA GOFUKU GAN

DENTSU CREATIVE X TOKYO/DENTSU TOKYO

DENTSU CREATIVE X TOKYO

JAPAN

A10/034 BATTING PRACTICE CENTER 3

MURATA KAMPO CHINESE HERBAL MEDICINE BAIKA GOFUKU GAN

DENTSU CREATIVE X TOKYO/DENTSU TOKYO

DENTSU CREATIVE X TOKYO

JAPAN

A10/035 MUSTANG

LILLY CANADA

CIALIS

DDB CANADA/TORONTO

IMPORTED ARTISTS FILM COMPANY TORONTO

CANADA

A10/036 CURFEW

LILLY CANADA

CIALIS

DDB CANADA/TORONTO

IMPORTED ARTISTS FILM COMPANY TORONTO

CANADA

ANONYMOUS CONTENT CULVER CITY

COSMETICS & BEAUTY

TOILETRIES

PHARMACY

CLOTHING, FOOTWEAR & ACCESSORIES A11/005 VOICES

NIKE

NIKEWOMEN

USA

A11/023 THREAD

LEVI STRAUSS & CO.

FALL 2012 COLLECTION

WIEDEN+KENNEDY PORTLAND

PARK PICTURES NEW YORK

USA

A11/024 JOGGER

NIKE

NIKE

WIEDEN+KENNEDY PORTLAND

PARK PICTURES SANTA MONICA

USA

A11/039 CAT FLAP

NIKE

NIKE FREE

FURLINED S. MONICA/WIEDEN+KENNEDY PORTLAND FURLINED SANTA MONICA

USA

A12/002 SWOPPED AT BIRTH

TIGER BRANDS

UNIBALL

TBWA\HUNT\LASCARIS JOHANNESBURG

FRIEZE FILMS JOHANNESBURG

SOUTH AFRICA

A12/003 BUST YOU OUT

TIGER BRANDS

UNIBALL

TBWA\HUNT\LASCARIS JOHANNESBURG

FRIEZE FILMS JOHANNESBURG

SOUTH AFRICA

A12/006 FAMILY TIES

MONTEGO PET NUTRITION

BRAND

HUMAN.KIND ADVERTISING JOHANNESBURG

VELOCITY FILMS CAPE TOWN

SOUTH AFRICA

MISCELLANEOUS

CARS A13/001 OFFROAD

DAIMLER/SMART

SMART FORTWO

BBDO GERMANY BERLIN

BIGFISH FILMPRODUKTION BERLIN

GERMANY

A13/002 PUBLIC TRANSPORT

DAIMLER/SMART

SMART FORTWO

BBDO GERMANY BERLIN

BIGFISH FILMPRODUKTION BERLIN

GERMANY

A13/040 TEST DRIVE CINEMA

CITR EN

CITR EN NEW C3

HAVAS WORLDWIDE S O PAULO

YELLOW STUDIOS S O PAULO

BRAZIL

A13/046 PROM

AUDI OF AMERICA

BRAND

VENABLES BELL & PARTNERS SAN FRANCISCO

SMUGGLER HOLLYWOOD

USA

A13/053 SOUL :60

MERCEDES-BENZ

CLA

MERKLEY + PARTNERS NEW YORK

MJZ LOS ANGELES

USA

A13/060 FEELS GOOD INSIDE

TOYOTA - NEW ZEALAND

COROLLA

SAATCHI & SAATCHI AUCKLAND

GOODOIL FILMS SYDNEY

NEW ZEALAND

A13/061 SENIOR REBELS

VOLKSWAGEN GROUP IMPORT COMPANY

VOLKSWAGEN BEETLE

DDB GUOAN BEIJING

SWEET SHOP BANGKOK/BLACK + CAMERON SHANGHAI CHINA

A13/062 BABY

VOLKSWAGEN

VW JETTA

DEUTSCH LOS ANGELES

BISCUIT FILMWORKS LOS ANGELES

USA

A13/063 GET HAPPY

VOLKSWAGEN

VW BEETLE

DEUTSCH LOS ANGELES

MJZ LOS ANGELES

USA

A13/064 MASK

VOLKSWAGEN

VW BEETLE

DEUTSCH LOS ANGELES

BISCUIT FILMWORKS LOS ANGELES

USA

A13/067 CRASH

VOLKSWAGEN

VW PASSAT

DEUTSCH LOS ANGELES

IMPERIAL WOODPECKER SANTA MONICA

USA

A13/068 TOSS

VOLKSWAGEN

VW PASSAT

DEUTSCH LOS ANGELES

IMPERIAL WOODPECKER SANTA MONICA

USA

A13/069 LAUGH

VOLKSWAGEN

VW JETTA

DEUTSCH LOS ANGELES

BISCUIT FILMWORKS LOS ANGELES

USA

A13/072 LA VITA BELLA

FIAT

FIAT CINQUECENTO

WIEDEN+KENNEDY SHANGHAI

@RADICAL.MEDIA SANTA MONICA

CHINA

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CLIENT

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PRODUCT

ENTRANT/AGENCY

PRODUCTION COMPANY

COUNTRY

CARS (CONT.) A13/083 ENOUGH

NISSAN CSEN

NISSAN ALTIMA

O POSITIVE FILMS NY/TBWA\CHIAT\DAY LA

O POSITIVE FILMS NEW YORK

USA

A13/084 DAS HUND

PON’S AUTOMOBIELHANDEL B.V

VOLKSWAGEN

DDB & TRIBAL AMSTERDAM

CZAR AMSTERDAM

NETHERLANDS

A13/087 HOW TO CHANGE CARS FOREVER

DODGE

DART

BISCUIT FILMWORKS LA/WIEDEN+KENNEDY PORTLAND

BISCUIT FILMWORKS LOS ANGELES

USA

A13/088 BMW M5 BULLET

BMW

BMW M5

CUNDARI TORONTO

BIG BLOCK SANTA MONICA

CANADA

A13/109 TALL GIRL

VOLKSWAGEN

VW UP!

ADAM&EVEDDB LONDON

GORGEOUS LONDON

UK

A13/114 MY WAY

VOLKSWAGEN

GOLF GTI

ADAM&EVEDDB LONDON

MARKENFILM BERLIN/MOB FILM COMPANY LONDON

UK

A13/143 ROAM

LAND ROVER

LAND ROVER BRAND

Y&R NEW YORK

BISCUIT FILMWORKS LOS ANGELES

USA

A13/149 SARAH

FIAT AUTOMOVEIS S.A

FIAT BRAVO

LEO BURNETT TAILOR MADE S O PAULO

ZOLA S O PAULO

BRAZIL

A13/157 CAUGHT

BMW

BMW

KBS+ NEW YORK

HOCHKANT FILM MUNICH

USA

A13/159 PEDRO

VOLKSWAGEN

SIGN ASSIST

DDB TRIBAL BERLIN

BUBBLES FILM BERLIN

GERMANY

A13/163 DISTRACTION

VOLKSWAGEN DO BRASIL

VW EMERGENCY CITY BRAKE

ALMAPBBDO S O PAULO

VOLCANO HOTMIND S O PAOLO

BRAZIL

OTHER VEHICLES, AUTO PRODUCTS & SERVICES A14/030 THE CENTAUR

HONDA MOTO

HONDA MOTO

DDB PARIS

CRAC PARIS

FRANCE

A14/043 DAMN LICENSE PLATES

CAR ONE

USED CARS

LEO BURNETT ARGENTINA BUENOS AIRES

GLORIA FILMS BUENOS AIRES

ARGENTINA

UK

HOME ELECTRONICS & AUDIO-VISUAL A15/005 CHARGE

SAMSUNG

SAMSUNG SMART TV

CHI & PARTNERS LONDON

SOMESUCH & CO LONDON

A15/006 KING OF TV CITY

SAMSUNG

SAMSUNG SMART TV

CHI & PARTNERS LONDON

STINK LONDON

UK

A15/024 BAKE IT

ACER

ASPIRE S5 ULTRABOOK

MOTHER LONDON

STINK LONDON

UK

A15/043 INSPIRED

CANON USA

DIGITAL SLR CAMERAS

GREY NEW YORK

MJZ LOS ANGELES

USA

RETAIL STORES A16/016 KYRIE IN THE AIR

FOOT LOCKER

FOOT LOCKER

BBDO NEW YORK

O POSITIVE FILMS NEW YORK

USA

A16/019 YACHT

FOOT LOCKER

FOOT LOCKER

BBDO NEW YORK

BISCUIT FILMWORKS LOS ANGELES

USA

www.pigchina.com

FRIDAY, JUNE 21, 2013


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FILM SHORTLIST

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TITLE

CLIENT

PRODUCT

ENTRANT/AGENCY

PRODUCTION COMPANY

COUNTRY

A16/020 MELOS

FOOT LOCKER

FOOT LOCKER

BBDO NEW YORK

BISCUIT FILMWORKS LOS ANGELES

USA

A16/028 THE JOURNEY

JOHN LEWIS

DEPARTMENT STORE

ADAM&EVEDDB LONDON

BLINK PRODUCTIONS LONDON

UK

RETAIL STORES (CONT.)

A16/029 THE OTHER HALF

JOHN LEWIS

NEVER KNOWLINGLY UNDERSOLD

ADAM&EVEDDB LONDON

RATTLING STICK LONDON

UK

A16/030 SHIP MY PANTS

KMART

STORE TO HOME

DRAFTFCB CHICAGO

BOB INDUSTRIES SANTA MONICA

USA

A16/032 SHAME

FARMACITY

FARMACITY

Y&R BUENOS AIRES

FIGHT FILMS BUENOS AIRES

ARGENTINA

A16/055 SOUL

LEICA STORE S O PAULO

LEICA M-MONOCHROM

F/NAZCA SAATCHI & SAATCHI S O PAULO

SENTIMENTAL FILME S O PAULO

BRAZIL

A16/074 THE TRUTH

MORRISONS

CHRISTMAS

DLKW LOWE LONDON

ACADEMY FILMS LONDON

UK

A16/090 CHASE

HOME PRODUCT CENTER

HOMEPRO EXPO

BBDO BANGKOK

PHENOMENA BANGKOK

THAILAND

A16/110 NIGHTWALKERS

IKEA

IKEA SWEDEN

KESTAM HOLST STOCKHOLM

SOCIAL CLUB STOCKHOLM

SWEDEN

A16/128 PLAYIN’ WITH MY FRIENDS

IKEA

IKEA

MOTHER LONDON

BLINK PRODUCTIONS LONDON

UK

A16/131 TERRACE

IKEA

IKEA

S,C,P,F BARCELONA

PUENTE A REO BARCELONA

SPAIN

TRAVEL, TRANSPORT & TOURISM A18/010 GRANDPA’S MAGIC TRICK

WIDER E

AIRLINE

MCCANN OSLO OSLO

4 1/2 OSLO

NORWAY

A18/026 BABY

THE CAPITAL TRANSIT NETWORK

PUBLIC TRANSPORT

LG2 QU BEC

NOVA FILM QUEBEC

CANADA

A18/043 DADDY S GIRL

SAS SCANDINAVIAN AIRLINES SYSTEM

SAS SCANDINAVIAN AIRLINES SYSTEM

DDB OSLO

EINAR FILM & FORTELLINGER OSLO

NORWAY

A18/048 BULGARIA

EXPEDIA

EXPEDIA

OGILVY & MATHER LONDON

MOXIE PICTURES LONDON

UK

A18/049 NEW ZEALAND

EXPEDIA

EXPEDIA

OGILVY & MATHER LONDON

MOXIE PICTURES LONDON

UK

A18/050 HIMALAYAS

EXPEDIA

EXPEDIA

OGILVY & MATHER LONDON

MOXIE PICTURES LONDON

UK

A19/004 INTERSECTION - PART 1 (TV)

STER KINEKOR

STER KINEKOR

FOXP2 CAPE TOWN

BOUFFANT FILMS JOHANNESBURG

SOUTH AFRICA

A19/005 INTERSECTION - PART 2 (CINE)

STER KINEKOR

THEATRES

FOXP2 CAPE TOWN

BOUFFANT FILMS JOHANNESBURG

SOUTH AFRICA

ENTERTAINMENT & LEISURE

A19/015 JIGGLE

NEW ZEALAND LOTTERIES

SCRATCH N WIN TICKET

DDB GROUP NEW ZEALAND AUCKLAND

THE SWEET SHOP AUCKLAND

NEW ZEALAND

A19/017 THE FOREST

OUTBOX

INT. SHORT FILM FESTIVAL

LEO BURNETT BEIRUT

CLANDESTINO FILMS BEIRUT

LEBANON

FRIDAY, JUNE 21, 2013


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FILM SHORTLIST CAT

TITLE

CLIENT

PRODUCT

ENTRANT/AGENCY

21 PRODUCTION COMPANY

COUNTRY

ENTERTAINMENT & LEISURE (CONT.) A19/019 AIRPORT SECURITY

SCIENCE WORLD

EDUC. CENTRE/TOURISM/LEISURE/ENTERTAIN.

RETHINK VANCOUVER

INDUSTRY FILMS TORONTO

CANADA

A19/037 THE WAG

NORSK TIPPING

LOTTO

TRY/APT ADVERTISING AGENCY OSLO

BACON OSL OSLO

NORWAY

A19/049 LIVE-ACTION TRAILER

ACTIVISION PUBLISHING

CALL OF DUTY: BLACK OPS II

72ANDSUNNY LOS ANGELES

RESET SANTA MONICA

USA

A19/059 THE SLOT CAR MAN

SVENSKA SPEL

LOTTERY

KING STOCKHOLM

TRAKTOR VENICE

SWEDEN

A19/060 THE SLOT CAR MAN ( NEIGHBOUR)

SVENSKA SPEL

LOTTERY

KING STOCKHOLM

TRAKTOR VENICE

SWEDEN

A19/061 THE SLOT CAR MAN (CURVE)

SVENSKA SPEL

LOTTERY

KING STOCKHOLM

TRAKTOR VENICE

SWEDEN FRANCE

A19/077 RISE

UBISOFT EMEA

ASSASSIN’S CREED III

SID LEE PARIS

JIMMY LEE MONTR AL/FURLINED SANTA MONICA

A19/080 SNEEZE

MIAMI SHORT FILM FESTIVAL

MIAMI SHORT FILM FESTIVAL

CONILL SAATCHI & SAATCHI TORRANCE

MILAGRO FILMS LA/ALBINA A FILMS LISBOA

USA

A19/104 YEAH THAT KINDA RICH, WRITERS ROOM

NY LOTTERY

LOTTERY/ POWER BALL

DDB NEW YORK

O POSITIVE FILMS NEW YORK

USA

A19/106 YEAH THAT KINDA RICH, INVASION

NY LOTTERY

NY LOTTERY

DDB NEW YORK

O POSITIVE FILMS NEW YORK

USA

PUBLICATIONS & MEDIA A20/020 MEET THE SUPERHUMANS

CHANNEL 4

ON AIR TV PROMOTION

4CREATIVE LONDON

4CREATIVE LONDON

UK

A20/021 STREET RACE

CHANNEL 4

ON AIR TV PROMOTION

CHANNEL 4 /4CREATIVE LONDON

4CREATIVE LONDON

UK

A20/024 FUEL FOR FANS

CANAL +

CANAL +

BETC PARIS

HENRY DE CZAR PARIS

FRANCE

A20/041 KANVAS SCANDINAVIAN WEEK

VRT

CANVAS

MAKE LEMONADE HERENT

CZAR.BE BRUSSELS/BACON OSL OSLO

BELGIUM

A20/064 STADIUM UK

BBC

BBC SPORT

RKCR Y&R LONDON

PASSION PICTURES LONDON/RED BEE MEDIA LONDON UK

A20/091 GET INVOLVED

NEWS INTERNATIONAL

THE SUN NEWSPAPER

GREY LONDON

CAVIAR FILMS LONDON

A20/093 BORN INTO IT

ESPN

ESPN

WIEDEN+KENNEDY NEW YORK

IMPERIAL WOODPECKER NEW YORK

USA

A20/094 TEAM SPIRIT

ESPN

ESPN

WIEDEN+KENNEDY NEW YORK

MOXIE PICTURES NEW YORK

USA

UK

A20/095 CLAYTON

ESPN

THIS IS SPORTSCENTER

WIEDEN+KENNEDY NEW YORK

O POSITIVE FILMS NEW YORK

USA

A20/102 ELVIS IS DEATH

MTV BRASIL

MTV BRASIL

LODUCCA S O PAULO

PRODIGO/BIG FOOTE MUSIC AND SOUND SÃO PAULO

BRAZIL

A20/107 OPERATION MAIDANA

AGEA

OL SPORTS NEWSPAPER

Y&R BUENOS AIRES

ARGENTINA CINE BUENOS AIRES

ARGENTINA

A20/118 JUNGLE

NATG O WILD

NATG O WILD

DDB PARIS

STRIPES PARIS

FRANCE

A20/119 SANDSTORM

NATG O WILD

NATG O WILD

DDB PARIS

STRIPES PARIS

FRANCE

A20/120 GNU

NATG O WILD

NATG O WILD

DDB PARIS

STRIPES PARIS

FRANCE

FRIDAY, JUNE 21, 2013


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FILM SHORTLIST

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TITLE

CLIENT

PRODUCT

ENTRANT/AGENCY

PRODUCTION COMPANY

COUNTRY

BANKING, INVESTMENT & INSURANCE A21/027 HEYBERKERKIE

DNB

CHILDREN`S HOUSESAVINGS ACCOUNT TRY/APT ADVERTISING AGENCY OSLO

BACON OSL OSLO

NORWAY

A21/029 THE TREASURE

DNB BANK

SAVINGS

TRY/APT ADVERTISING AGENCY OSLO

BACON OSL OSLO

NORWAY

A21/054 MINTS & COLA

1ST FOR WOMEN INSURANCE

MOTOR AND HOUSEHOLD INSURANCE

BLACK RIVER FC JOHANNESBURG

VELOCITY FILMS JOHANNESBURG

SOUTH AFRICA

A21/055 SPEEDBOAT

CENTRAAL BEHEER ACHMEA

INSURANCE COMPANY

DDB & TRIBAL AMSTERDAM

BONKERS AMSTERDAM

NETHERLANDS

A21/071 DISCUSSION

AMIS

MEXICAN INSURANCE ASSOCIATION

OGILVY & MATHER MEXICO CITY

CENTRAL FILMS MEXICO CITY

MEXICO

A21/073 FORGET ME NOT

THAI LIFE INSURANCE

THAI LIFE INSURANCE

OGILVY & MATHER BANGKOK

PHENOMENA BANGKOK

THAILAND

A21/111 KEY AUNTIE

ALIPAY

ALIPAY/ ONLINE PAYMENT PLATFORM

LOWE CHINA SHANGHAI

PHENOMENA BANGKOK

CHINA

A21/123 PHOTO BOOTH

FIFTH THIRD BANK

IDENTITY ALERT

LEO BURNETT CHICAGO

MONACO REPS NEW YORK

USA

A21/124 SCHOOL PHOTO

FIFTH THIRD BANK

IDENTITY ALERT

LEO BURNETT CHICAGO

MONACO REPS NEW YORK

USA

A21/145 YOUR FIRST CAR INSURANCE TASTE TEST

GEICO

AUTO INSURANCE

THE MARTIN AGENCY RICHMOND

STATION FILM LOS ANGELES

USA

A21/147 A LITTLE CAR INSURANCE ON YOUR LIPS

GEICO

AUTO INSURANCE

THE MARTIN AGENCY RICHMOND

STATION FILM LOS ANGELES

USA

BUSINESS EQUIPMENT & SERVICES A22/010 BAND

FEDEX

FEDEX CUP

BBDO NEW YORK

O POSITIVE FILMS NEW YORK

USA

A22/011 CHECK IN

FEDEX

FEDEX CUP

BBDO NEW YORK

O POSITIVE FILMS NEW YORK

USA

A22/016 AROUND THE WORLD

GO DADDY

GODADDY.COM

DEUTSCH NEW YORK

BISCUIT FILMWORKS LOS ANGELES

USA

A22/017 PERFECT MATCH

GO DADDY

GODADDY.COM

DEUTSCH NEW YORK

BISCUIT FILMWORKS LOS ANGELES

USA

A22/031 MEETING WITH TIM

SAMSUNG

GALAXY

72ANDSUNNY LOS ANGELES

EPOCH FILMS BEVERLY HILLS

USA

A22/033 GIMMICKS

FEDEX CANADA

LESS THAN URGENT, GROUND…

BBDO TORONTO

SONS AND DAUGHTERS TORONTO

CANADA

A22/049 LIFE CUTS

GETTY IMAGES

GETTY IMAGES

ALMAPBBDO S O PAULO

ZOLA S O PAULO

BRAZIL

A22/052 LAG

COX COMMUNICATIONS

COX BUSINESS

DRAFTFCB CHICAGO

BOB INDUSTRIES SANTA MONICA

USA

A22/060 LAST DAY

STAPLES

STAPLES.COM

DAVID BUENOS AIRES

PALERMO FILMS BUENOS AIRES

ARGENTINA

A23/045 POOL

WRAAC

PARENTAL CONTROL BAR

LATINWORKS AUSTIN

BOXER FILMS LOS ANGELES

USA

A23/046 THE MOST FERTILE WOMAN…

CANAL DIGITAL NORGE AS

OPTIONAL TV PACKAGE

TRY/APT ADVERTISING AGENCY OSLO

BACON OSL OSLO

NORWAY

A23/066 EYES

NEXTEL

NEXTEL

MJZ LONDON/MADRE BUENOS AIRES

MJZ LONDON/LABHOUSE BUENOS AIRES

UK

A23/068 PAJAMAS

SPRINT

SPRINT

LEO BURNETT CHICAGO /DIGITAS CHICAGO ANONYMOUS CONTENT CULVER CITY

USA

A23/082 I WILL RETURN

SAFESTORE

SELF STORAGE

WCRS LONDON

BLINK PRODUCTIONS LONDON

UK

A23/086 TROLL

DIRECTV

TELECOMMUNICATIONS

GREY NEW YORK

BISCUIT FILMWORKS LOS ANGELES

USA

A23/087 FUNERAL

DIRECTV

TELECOMMUNICATIONS

GREY NEW YORK

MJZ LOS ANGELES

USA

A23/088 DINNER PARTY

DIRECTV

TELECOMMUNICATIONS

GREY NEW YORK

MJZ LOS ANGELES

USA

A23/089 PIZZERIA

DIRECTV

TELECOMMUNICATIONS

GREY NEW YORK

MJZ LOS ANGELES

USA

A23/090 MOTORCYCLE

DIRECTV

CABLE

GREY NEW YORK

MJZ LOS ANGELES

USA

A23/091 HAWK

DIRECTV

TELECOMMUNICATIONS

GREY NEW YORK

MJZ LOS ANGELES

USA

A23/092 BEARS

DIRECTV

TELECOMMUNICATIONS

GREY NEW YORK

MJZ LOS ANGELES

USA

A23/093 HORSES

DIRECTV

TELECOMMUNICATIONS

GREY NEW YORK

MJZ LOS ANGELES

USA

A23/152 HARRY

SBS

ON DEMAND BROADCAST SERVICE

JOY. SYDNEY

EXIT FILMS SYDNEY/ALT.VFX BRISBANE/BUTCHERY MELBOURNE AUSTRALIA

COMMERCIAL PUBLIC SERVICES

FRIDAY, JUNE 21, 2013


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TITLE

CLIENT

PRODUCT

ENTRANT/AGENCY

23 PRODUCTION COMPANY

COUNTRY

COMMERCIAL PUBLIC SERVICES (CONT.) A23/153 CARMELINA

SBS

ON DEMAND BROADCAST SERVICE JOY. SYDNEY

EXIT FILMS SYDNEY/ALT.VFX BRISBANE/ BUTCHERY MELBOURNE AUSTRALIA

A23/207 PS3 AND BEER

CABLEVISION

FIBERTEL

DON BUENOS AIRES

URSULA BUENOS AIRES

ARGENTINA

A23/208 NEPHEWS

CABLEVISION

FIBERTEL

DON BUENOS AIRES

URSULA BUENOS AIRES

ARGENTINA

A23/240 VODAFONE - KISS

VODAFONE

MOBILE SERVICE PROVIDER

GREY LONDON

ACADEMY LONDON

UK

CORPORATE IMAGE A24/007 STAYING UP

MCDONALD’S NEW ZEALAND

FAST FOOD

DDB GROUP NEW ZEALAND AUCKLAND

REVOLVER/ WILL O’ROURKE SYDNEY

NEW ZEALAND

A24/008 DREAMS

CAMELOT

LOTTERY GOOD CAUSES

ABBOTT MEAD VICKERS BBDO LONDON

ACADEMY FILMS LONDON

UK

A24/017 HELP A CHILD REACH 5

UNILEVER

LIFEBUOY

LOWE + PART. LONDON/LOWE LINTAS + PART. MUMBAI

CHROME PICTURES MUMBAI

UK

A24/029 ANACHRONISM

TOYOTA

TOYOTA HYBRID RANGE

SAATCHI & SAATCHI MILAN

AKITA FILM MILAN

ITALY

A24/032 PLAY60

NFL

NFL

O POSITIVE FILMS NY/GREY GROUP NY

O POSITIVE FILMS NEW YORK

USA

A24/034 FIND YOUR GREATNESS NIKE

CLOTHING, FOOTWEAR & ACCESSORIES WIEDEN+KENNEDY PORTLAND

PARK PICTURES NEW YORK

USA

A24/045 CRAZY FOR GOOD

BRAZIL

COCA-COLA GLOBAL CAMPAIGN

OGILVY BRASIL S O PAULO

SMUGGLER HOLLYWOOD

A24/046 REAL BEAUTY SKETCHES UNILEVER

COCA-COLA COMPANY

DOVE MASTERBRAND

OGILVY BRASIL S O PAULO

PARANOID US CULVER CITY

BRAZIL

A24/104 BEING THERE

CAN 2013

MARCEL PARIS

U-MAN PARIS/VELOCITY FILMS JOHANNESBURG

FRANCE

CANADA

ORANGE

PUBLIC HEALTH & SAFETY ROAD SAFETY

LG2 QU BEC

QUATRE Z RO UN MONTR AL

A26/011 PHONE DRIVING WOMAN NORWEGIAN COUNCIL ROAD SAFETY

A26/010 MESSAGES

QUEBEC AUTO. INSURANCE CORP.

ROAD SAFETY

TRY/APT ADVERTISING AGENCY OSLO

EINAR FILM & FORTELLINGER OSLO

NORWAY

A26/013 MUTATION

DEPARTMENT OF HEALTH

TOBACCO CONTROL

DARE LONDON/NOW LONDON

HLA LONDON

UK

A26/023 SILENT MOVIE

PROGETTO ITACA

NO PROFIT ORGANIZATION

Y&R ITALY MILAN

FILMMASTER MILAN

ITALY

A26/035 NATHALIE

INSTIT. DE FR./FOND. RECHERCHE CARDIO CHARITIES

PUBLICIS CONSEIL PARIS

PARTIZAN PARIS

FRANCE

A26/059 DUMB WAYS TO DIE

METRO TRAINS

MCCANN MELBOURNE

METRO TRAINS

FRIDAY, JUNE 21, 2013

AUSTRALIA


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FILM SHORTLIST

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TITLE

CLIENT

PRODUCT

ENTRANT/AGENCY

PRODUCTION COMPANY

COUNTRY

PUBLIC AWARENESS MESSAGES A27/004 TAKEAWAY

CCTV

TV/BROADCASTING STATION

SAATCHI & SAATCHI SHANGHAI

OFF-LO-HI HONG KONG

CHINA

A27/007 DEMAND EQUAL PAY

YWCA

CHARITY

DDB GROUP NEW ZEALAND AUCKLAND

THICK AS THIEVES AUCKLAND

NEW ZEALAND

A27/010 PLAYGROUND

MOVIMIENTO TODOS LOS DIAS ES EL DIA… MOVIMIENTO TODOS LOS DIAS ES EL DIA…

OGILVY & MATHER MEXICO CITY

CENTRAL FILMS MEXICO CITY

MEXICO

A27/012 BLIND EYE

WOMEN’S AID

WCRS LONDON

MPC LONDON

UK

A27/024 ED

STATES UNITED TO PREVENT GUN VIOLENCE GUN CONTROL ORGANIZATION

GREY NEW YORK

HARVEST SANTA MONICA

USA

A27/048 OSCAR FOR THE DISABLED

CAP48

INTEGRAT. DISABLED PEOPLE IN JOB MARKET AIR BRUSSELS

SHARP PRODUCTIONS BRUSSELS

BELGIUM

A28/001 NOT ALONE

MACMILLAN

CANCER SUPPORT

VCCP LONDON

RSA FILMS LONDON

UK

A28/015 LOVE

DARG

DARG

BESTER BURKE SLINGERS GROUP CAPE TOWN

GIANT FILMS CAPE TOWN

SOUTH AFRICA

A28/035 HELPLESS

ST JOHNS AMBULANCE

ST JOHNS AMBULANCE

BBH LONDON

BLINK PRODUCTIONS LONDON

UK

A28/037 SYMMETRY

MARIE CURIE CANCER CARE

GREAT DAFFODIL APPEAL

DLKW LOWE LONDON

BLINK PRODUCTIONS LONDON

UK

A28/048 JONAS

MEDECINS SANS FRONTIERES

CHARITIES

KOMMUNIK.BUREAUET KBENHAVN COPENHAGEN

UITCH ISCRATCH PROD. COPENHAGEN

DENMARK

WOMEN’S AID

FUNDRAISING & APPEALS

A28/055 C

ISPCC

CHARITY

OGILVY & MATHER DUBLIN

BLINDER DUBLIN

IRELAND

A28/061 MAKE IT POSSIBLE

ANIMALS AUSTRALIA

FACTORY FARMING

LOUD SYDNEY

FSM DESIGN + VFX SYDNEY

AUSTRALIA

A28/070 BAD PRESS

THE PRINCE’S TRUST

THE PRINCE’S TRUST

CHI & PARTNERS LONDON

CHI LAB LONDON

UK

A28/080 HOUSE HUNT

NAT.CENTRE FOR DOMESTIC VIOLENCE

NAT. CENTRE FOR DOMESTIC VIOLENCE

JWT LONDON

RATTLING STICK LONDON

UK

A28/084 DOLYPHAN

WWF

WWF FRANCE

MARCEL PARIS/PUBLICIS ARGENTINA BUENOS AIRES STINK PARIS/MIKROS LEVALLOIS/WAM CLICHY

A28/085 BAMBOSEAL

WWF

WWF FRANCE

MARCEL PARIS/PUBLICIS ARGENTINA BUENOS AIRES STINK PARIS/MIKROS LEVALLOIS/WAM PARIS FRANCE

A28/096 LAST 10

HEART & STROKE FOUNDATION

HEART & STROKE FOUNDATION

LOWE ROCHE TORONTO

OPC/KNUCKLEHEAD TORONTO

BER CONTENT LA

FRANCE

CANADA

VIRAL FILM B01/011 OUR BLADES ARE F*ING GREAT DOLLAR SHAVE CLUB

DOLLAR SHAVE CLUB BLADES

BER CONTENT LOS ANGELES/PAULILU LOS ANGELES

B01/024 DUMB WAYS TO DIE

METRO TRAINS

METRO TRAINS

MCCANN MELBOURNE

AUSTRALIA

USA

B01/031 DONT COVER IT UP

REFUGE

REFUGE

BBH LONDON

UK

B01/033 TEST DRIVE

PEPSI

MAX

TBWA\CHIAT\DAY LOS ANGELES

FUNNY OR DIE’S GIFTED YOUTH LOS ANGELES USA

B01/080 POKER

CARLSBERG

CARLSBERG

DUVAL GUILLAUME MODEM ANTWERP

MONODOT /SONICVILLE /GRID BXL BRUSSELS BELGIUM

B01/082 AMAZING MINDREADER

FEBELFIN

BELGIAN FEDERATION OF BANKS

DUVAL GUILLAUME MODEM ANTWERP

CAVIAR BRUSSELS

BELGIUM

B01/084 BUYRAL

JOHN ST.

JOHN ST.

JOHN ST. TORONTO

AIRCASTLE PRODUCTION TORONTO

CANADA

B01/093 BABY AND ME

EVIAN

EVIAN

BETC PARIS

ICONOCLAST PARIS

FRANCE

B01/099 SHIP MY PANTS

KMART

STORE TO HOME

DRAFTFCB CHICAGO

BOB INDUSTRIES SANTA MONICA

USA

B01/105 WEYLAND’S 2023 TED TALK

PROMETHEUS

PROMETHEUS

RSA FILMS NY/IGNITION CREATIVE S. MONICA

RSA FILMS NEW YORK

USA

B01/142 THE REPLACERS

ACTIVISION PUBLISHING

CALL OF DUTY: BLACK OPS II

72ANDSUNNY LOS ANGELES

HUNGRY MAN LOS ANGELES

USA

B01/147 IT FOLLOWS ME AROUND

CHILDLINE

PHYSICAL ABUSE AWARENESS

MUSTARD LONDON/NSPCC LONDON

MUSTARD LONDON/SHOOTMEDIA LONDON

UK

B01/152 DANCE DICTIONARY VIRAL

P&G

PUMA FRAGRANCE

GREY LONDON

SOMESUCH & CO LONDON

UK

USA

LONG FORMAT INTERNET FILM B02/007 MANDIBLE

NEWPORT BEACH FILM FESTIVAL

NEWPORT BEACH FILM FESTIVAL

RPA SANTA MONICA

TOOL SANTA MONICA

B02/023 PLAN DOCUMENTARY

PLAN INTERNATIONAL

PLAN INTERNATIONAL

RATTLING STICK /ABBOTT MEAD VICKERS BBDO LONDON

RATTLING STICK LONDON

UK

B02/037 METAMORPHOSIS

CREDIT SUISSE

CREDIT SUISSE

HAVAS WORLDWIDE LONDON

SKINFLICKS LONDON

UK

B02/040 TEAM SPIRT

ESPN

ESPN

WIEDEN+KENNEDY NEW YORK

MOXIE PICTURES NEW YORK

USA

SHORT FORMAT INTERNET FILM B03/003 HOW TO SHOCK A CELEBRITY SABIN VACCINE INSTITUTE

END7

WUNDERMAN LONDON

TOAST TV LONDON

UK

B03/005 SKATE FORTWO

MERCEDES-BENZ

SMART FORTWO

WEAPON7 LONDON

PULSE FILMS LONDON

UK

B03/015 RICE COOKER

7-ELEVEN HONG KONG

REDEMPTION PROMOTION

LEO BURNETT HONG KONG

ANSWERMARK HONG KONG

HONG KONG

B03/016 KETTLE

7-ELEVEN HONG KONG

REDEMPTION PROMOTION

LEO BURNETT HONG KONG

ANSWERMARK HONG KONG

HONG KONG

B03/027 MATRYOSH-CAR

HONDA MOTOR CO.

N BOX+

DENTSU TOKYO

KAIBUTSU/AOI ADVERTISING PROMO TOKYO JAPAN

B03/050 SOUL EXTENDED VERSION

MERCEDES-BENZ

CLA

MERKLEY + PARTNERS NEW YORK

MJZ LOS ANGELES

USA

B03/077 THE TRUTH

SCA

BODYFORM

RUBBER REP. BRISTOL/CARAT LONDON

RUBBER REPUBLIC BRISTOL

UK

B03/088 A SMALL DEMONSTRATION MICROSOFT - PORTUGAL

WINDOWS 8

O ESCRITORIO ESTORIL

O ESCRITORIO ESTORIL

PORTUGAL

B03/099 INTO THE WOODS

JOHN WEST

BELGIOVANE WILLIAMS MACKAY SYDNEY

PLAZA FILMS SYDNEY

AUSTRALIA

SIMPLOT

B03/123 SOLAR CHARGING DUMMIES SPIES TRAVELS

HOLIDAY

ROBERT/BOISEN & LIKE-MINDED COPENHAGEN

GOBSMACK PRODUCTIONS COPENHAGEN

DENMARK

B03/135 SUSAN GLENN

AXE

BBH NEW YORK

RATTLING STICK LONDON

USA

B03/149 LOTTO - THE SLOT CAR MAN SVENSKA SPEL

LOTTERY

KING STOCKHOLM

TRAKTOR VENICE

SWEDEN

B03/159 GT 86 TEST WIFE

TOYOTA MOTOR EUROPE

TOYOTA GT 86

HAPPINESS BRUSSELS

CAVIAR BRUSSELS

BELGIUM

B03/165 THE LOVER

COME4

NON-PROFIT PORN SITE

BEING BOULOGNE BILLANCOURT

HENRY DE CZAR PARIS

FRANCE

UNILEVER

FRIDAY, JUNE 21, 2013


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FILM SHORTLIST CAT

TITLE

CLIENT

25

PRODUCT

ENTRANT/AGENCY

PRODUCTION COMPANY

COUNTRY

B03/230 FLYING IN FACE OF ORDINARY VIRGIN

VIRGIN ATLANTIC AIRWAYS

RKCR Y&R LONDON

PARTIZAN LONDON

UK

B03/235 FOLLOW THE FROG

RAINFOREST ALLIANCE

THE RAINFOREST

HUNGRY MAN LA/WANDER LA

WANDER LOS ANGELES

USA

B03/254 SMOKING KID

THAI HEALTH PROMOT. FOUND.

THAI HEALTH PROMO. FOUNDATION

OGILVY & MATHER BANGKOK

SONGMUE BANGKOK

THAILAND

B03/256 HASHTAG KILLER…

WATER IS LIFE

WATER IS LIFE (NON PROFIT)

DDB NEW YORK

SHORT FORMAT INTERNET FILM (CONT.)

USA

B03/259 BEACH

SOUTHERN COMFORT

SOUTHERN COMFORT

WIEDEN+KENNEDY NEW YORK

BISCUIT FILMWORKS NEW YORK

USA

B03/294 OFFICE LOVE

UNILEVER

AXE

BBH NEW YORK

SMUGGLER HOLLYWOOD

USA

B03/322 FOCUS GROUP

NATIONAL ADVERTISING AWARDS

AWARD SHOW

DRAFTFCB TORONTO

ERIC YEALLAND TORONTO

CANADA

BRANDED CONTENT INTERNET FILM B04/008 CHLOE’S WEDDING DAY

ARNOLD PALMER HOSPITAL

HOSPITAL

STRONG FILMS ORLANDO

STRONG FILMS ORLANDO

USA

B04/018 PUMA WHITE PAPER

PUMA

PUMA LIFESTYLE

DROGA5 NEW YORK

HUNGRY MAN NY/WORK/CUT + RUN LONDON

USA

B04/019 THIS SONG SAVED MY LIFE

MTV EXIT FOUNDATION

MTV EXIT FOUNDATION

18 FEET & RISING SYDNEY

18 FEET & RISING SYDNEY/CURIOUS FILM SURRY HILLS AUSTRALIA

B04/023 DREAM

LOUIS VUITTON

CORE VALUES

OGILVY FRANCE PARIS

STEAM FILMS TORONTO

B04/024 WORD

LOUIS VUITTON

CORE VALUES

OGILVY FRANCE PARIS

STEAM FILMS TORONTO

FRANCE

B04/026 PLAYIN’ WITH MY FRIENDS

IKEA

IKEA

MOTHER LONDON

BLINK PRODUCTIONS LONDON

UK

WWW.EXPEDIA.COM

180LA SANTA MONICA

BER CONTENT LOS ANGELES

USA

B04/031 FIND YOUR UNDERSTANDING EXPEDIA

FRANCE

B04/037 THE CANDIDATE

HEINEKEN INTERNATIONAL

HEINEKEN

PUBLICIS ITALY MILAN

STATE 31 AMSTERDAM

ITALY

B04/075 CLOUDS OVER CUBA

JFK PRESIDENT. LIBRARY & MUSEUM

CUBAN MISSILE CRISIS 50TH ANNIV.

MARTIN AGENCY RICHMOND/TOOL S. MONICA

TOOL SANTA MONICA

USA

B04/083 UNCLE DREW

PEPSI

PEPSI MAX

DAVIE-BROWN ENTERTAIN. LA/MARKETING ARM DALLAS MINUSL NEW YORK

USA

INTERNET FILM SERIES B05/058 THE BEAUTY INSIDE: EP. 1

INTEL + TOSHIBA

TOSHIBA LAPTOP WITH INTEL INSIDE

PEREIRA & O’DELL SAN FRANCISCO

B-REEL LOS ANGELES

USA

B05/059 THE BEAUTY INSIDE: EP.2

INTEL + TOSHIBA

TOSHIBA LAPTOP WITH INTEL INSIDE

PEREIRA & O’DELL SAN FRANCISCO

B-REEL LOS ANGELES

USA

B05/060 THE BEAUTY INSIDE: EP.3

INTEL + TOSHIBA

TOSHIBA LAPTOP WITH INTEL INSIDE

PEREIRA & O’DELL SAN FRANCISCO

B-REEL LOS ANGELES

USA

B05/061 THE BEAUTY INSIDE: EP.4

INTEL + TOSHIBA

TOSHIBA LAPTOP WITH INTEL INSIDE

PEREIRA & O’DELL SAN FRANCISCO

B-REEL LOS ANGELES

USA

B05/062 THE BEAUTY INSIDE: EP. 5

INTEL + TOSHIBA

TOSHIBA LAPTOP WITH INTEL INSIDE

PEREIRA & O’DELL SAN FRANCISCO

B-REEL LOS ANGELES

USA

B05/063 THE BEAUTY INSIDE: EP. 6

INTEL + TOSHIBA

TOSHIBA LAPTOP WITH INTEL INSIDE

PEREIRA & O’DELL SAN FRANCISCO

B-REEL LOS ANGELES

USA

OTHER SCREENS C01/035 MAKE IT TO MUSE - PART 1

STUDIO BRUSSELS

MUSIC FOR LIFE

MORTIERBRIGADE BRUSSELS

CAVIAR BRUSSELS

BELGIUM

C01/036 MAKE IT TO MUSE - PART 2

STUDIO BRUSSELS

MUSIC FOR LIFE

MORTIERBRIGADE BRUSSELS

CAVIAR BRUSSELS

BELGIUM

C01/037 MAKE IT TO MUSE - PART 3

STUDIO BRUSSELS

MUSIC FOR LIFE

MORTIERBRIGADE BRUSSELS

CAVIAR BRUSSELS

BELGIUM

C01/038 MAKE IT TO MUSE - PART 4

STUDIO BRUSSELS

MUSIC FOR LIFE

MORTIERBRIGADE BRUSSELS

CAVIAR BRUSSELS

BELGIUM

INTERACTIVE FILM C03/004 ART, COPY & CODE FILM

GOOGLE

ADVERTISING

72ANDSUNNY LOS ANGELES

TOOL SANTA MONICA

USA

C03/009 BASKETBALL

J VENES DE PUERTO RICO EN RIESGO

J VENES DE PUERTO RICO EN RIESGO

DDB LATINA PUERTO RICO SAN JUAN

1/4 PRODUCTIONS GUAYNABO

PUERTO RICO

C03/010 COKE WEARABLE MOVIE

THE COCA-COLA COMPANY

COCA-COLA

OGILVY NEW YORK

PSYOP NEW YORK/BOSSA NEW YORK

USA

C03/011 ANYTIME. ANYWHERE

DEFENCE FORCE RECRUITING

AUSTRALIAN AIR FORCE

GEORGE PATTERSON Y&R MELBOURNE

PRODIGY SYDNEY

AUSTRALIA

C03/014 GOLDEN CHAINS

ALB

MUSIC VIDEO

CLM BBDO BOULOGNE-BILLANCOURT

CARNIBIRD PARIS/ACNE PRODUCTION STOCKHOLM FRANCE

C03/027 NIKE MY TIME IS NOW

NIKE

FOOTBALL

WIEDEN+KENNEDY LONDON

STINK LONDON

FRIDAY, JUNE 21, 2013

UK


FACE THE LIONS OUTSIDE THE PALAIS

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BRANDED CONTENT SHORTLIST CAT

TITLE

CLIENT

PRODUCT

CONTRIBUTING COMPANY

COUNTRY

BEST FICTIONAL PROGRAM, SERIES OR FILM WHERE A CLIENT HAS SUCCESSFULLY CREATED A DRAMA, COMEDY OR MINISERIES AROUND A PRODUCT OR BRAND A01/018 LOVE IN THE END

MONDELEZ INTERNATIONAL

LACTA

OGILVYONE WORLDWIDE ATHENS/BOLD OGILVY & MATHER ATHENS

GREECE

A01/022 UNCLE DREW

PEPSI

PEPSI MAX

THE MARKETING ARM DALLAS

USA

A01/036 THE BEAUTY INSIDE

INTEL + TOSHIBA

TOSHIBA LAPTOP WITH INTEL INSIDE

PEREIRA & O’DELL SAN FRANCISCO

USA

A01/042 THE MOVIE OUT HERE

LABATT BREWERIES OF CANADA

KOKANEE

GRIP LIMITED TORONTO

CANADA

A01/055 SECRET PLACE

NESTLE WATERS

PERRIER

OGILVY FRANCE PARIS

FRANCE

BEST NON-FICTION PROGRAM, SERIES OR FILM WHERE A CLIENT HAS SUCCESSFULLY CREATED A REALITY, DOCUMENTARY OR ENTERTAINMENT SHOW AROUND A PRODUCT(S) OR BRAND(S) A02/011 CLOUDS OVER CUBA

THE JFK PRESIDENTIAL LIBRARY & MUSEUM

CUBAN MISSILE CRISIS 50TH ANNIVERSARY

THE MARTIN AGENCY RICHMOND/TOOL SANTA MONICA

USA

A02/012 GT ACADEMY USA SEASON 2

NISSAN NORTH AMERICA

NISSAN

TBWA\CHIAT\DAY LOS ANGELES

USA

A02/033 FROM SHELTER TO STAGE

MARS PETCARE US

PEDIGREE

STARCOM MEDIAVEST GROUP CHICAGO

USA

A02/043 8 MILLION PROTAGONISTS

VILLAGE VOICE NEWSPAPER

VILLAGE VOICE NEWSPAPER

LEO BURNETT NEW YORK

USA

A02/061 BUBBA’S HOVER

OAKLEY

OAKLEY GOLF

THINKMODO NEW YORK

USA

A02/070 MOBILIZING THE 12TH MAN

C. S. HAMMAM-LIF

FOOTBALL CLUB

MEMAC OGILVY LABEL/OGILVYACTION TUNISIA TUNIS/OGILVYENTERTAIN. NY

TUNISIA

A02/085 A BOY AND HIS ATOM…

IBM

IBM RESEARCH

OGILVY NEW YORK

USA

A02/089 THE CANDIDATE

HEINEKEN INTERNATIONAL

HEINEKEN

PUBLICIS ITALY MILAN

ITALY

A02/096

TOYOTA

TOYOTA TUNDRA

SAATCHI & SAATCHI LA

USA

UNILEVER

DOVE MASTERBRAND

OGILVY BRASIL S O PAULO

BRAZIL

USA

TUNDRA SPACE SHUTTLE ENDEAVOUR CAMPAIGN

A02/098 REAL BEAUTY SKETCHES

BEST BRAND OR PRODUCT INTEGRATION INTO A FEATURE FILM, EXISTING TV SHOW AND/OR SERIES A03/018 VERIZON COLOR LIVE VIDEO BROADCAST APPLIC.

VERIZON WIRELESS

COMMUNICATIONS PROVIDER

MCCANN ERICKSON NEW YORK

A03/020 PIRACY

BRITANICO

ENGLISH LESSONS

Y&R LIMA

PERU

A03/022 DAYS OF HOPE

DIAKONIE FRANKFURT & PARTNERS…

DIAKONIE FRANKFURT & PARTNERS

SAATCHI ROMANIA BUCHAREST/POLAND WARSAW/RUSSIA MOSCOW

GERMANY

A03/023 NO NAME MATCH

UNICEF

ID CAMPAIN

ONIRIA/TBWA ASUNCION

PARAGUAY

A03/029 DEFORESTED FIELD

WWF

WWF

GREY 141 GROUP S O PAULO

BRAZIL

A03/032 THE BEETLE SHARK CAGE

VOLKSWAGEN

VW BEETLE

MEDIACOM NEW YORK/DEUTSCH LOS ANGELES/EDELMAN NEW YORK

USA

BEST USE OR INTEGRATION OF USER-GENERATED CONTENT A04/008 SURPRISING MONSTERS CALLING HOME

AMERICAN HONDA MOTOR CO

HONDA LOVES YOU BACK

RPA SANTA MONICA

USA

A04/014 MIMEISTHAI

TEDX SYDNEY

TEDX

CLEMENGER BBDO SYDNEY

AUSTRALIA

A04/015 DOPING TV

HYATT REGENCY WARSAW

HOTEL SERVICES

Y&R WARSAW WARSAW

POLAND

A04/029 LOVE IN THE END

MONDELEZ INTERNATIONAL

LACTA

OGILVYONE WORLDWIDE ATHENS/BOLD OGILVY & MATHER ATHENS

GREECE

A04/031 8 MILLION PROTAGONISTS

VILLAGE VOICE NEWSPAPER

VILLAGE VOICE NEWSPAPER

LEO BURNETT NEW YORK

USA

A04/049 THE BEAUTY INSIDE

INTEL + TOSHIBA

TOSHIBA LAPTOP WITH INTEL INSIDE

PEREIRA & O’DELL SAN FRANCISCO

USA

A04/071 CANCERTWEETS

LEAGUE AGAINST CANCER BOGOT

CANCER CHARITY

LEO BURNETT COLOMBIA BOGOT

COLOMBIA

A04/075 BUILDING THE PEOPLE’S CAR

VOLKSWAGEN GROUP CHINA

THE PEOPLE’S CAR PROJECT

PROXIMITY BEIJING/GOODSTEIN & PARTNERS BEIJING

CHINA

A04/081 YES, VIRGINIA THE MUSICAL

MACY’S

DEPARTMENT STORE

JWT NEW YORK

USA

BEST USE OR INTEGRATION OF EXPERIENTIAL EVENTS A05/005 THE V MOTION PROJECT

FRUCOR BEVERAGES

V ENERGY DRINK

COLENSO BBDO AUCKLAND

NEW ZEALAND

A05/007 MARIACHI

PEPSICO

DORITOS

ABBOTT MEAD VICKERS BBDO LONDON

UK

A05/014 THE ERASABLE BILLBOARD

PLAN FRANCE

INTERNATIONAL GIRLS DAY

CLM BBDO BOULOGNE-BILLANCOURT

FRANCE

A05/020 THE ANT RALLY

WORLDWIDE FUND FOR NATURE

WWF

BBDO GERMANY D SSELDORF

GERMANY

A05/039 DOUBLE LOOP DARE

MATTEL

HOT WHEELS

MISTRESS VENICE

USA

A05/055 POKER

CARLSBERG

CARLSBERG BEER

DUVAL GUILLAUME MODEM ANTWERP

BELGIUM

A05/056 THE EXHIBITION THAT SHOULDN’T EXIST

CONTROL ARMS

ARMS TRADE TREATY

LEO BURNETT LISBOA

PORTUGAL

A05/072 DRIVING DOGS

MINI/SPCA NEW ZEALAND

BRAND SPONSORSHIP LEVERAGE/LIVE EVENT

DRAFTFCB NEW ZEALAND AUCKLAND

NEW ZEALAND

A05/088 THE CANDIDATE

HEINEKEN INTERNATIONAL

HEINEKEN

PUBLICIS ITALY MILAN

ITALY

A05/090 SMALL WORLD MACHINES

COCA-COLA

COCA-COLA

LEO BURNETT SYDNEY/LEO BURNETT CHICAGO

AUSTRALIA

A05/106 THE REAL MASTER OF INTUITION

HEINEKEN ITALIA

HEINEKEN

PUBLICIS ITALY MILAN

ITALY

A05/108 REVERSE ROBBERIES

PARMALAT

OAK FLAVOURED MILK

THE MONKEYS SYDNEY

AUSTRALIA

A05/115 TUNDRA SPACE SHUTTLE ENDEAVOUR CAMPAIGN

TOYOTA

TOYOTA TUNDRA

SAATCHI & SAATCHI LA

USA

A05/119 REAL BEAUTY SKETCHES

UNILEVER

DOVE MASTERBRAND

OGILVY BRASIL S O PAULO

BRAZIL

A05/128 TWISTED FOOTBALL

NESTL PRODUCTS

MILO CANS

OGILVY MALAYSIA KUALA LUMPUR

MALAYSIA

A05/153 MY BLOOD IS RED AND BLACK

HEMOBA/ESPORTE CLUBE VIT RIA

FOOTBALL TEAM

LEO BURNETT TAILOR MADE S O PAULO

BRAZIL

A05/167 YES, VIRGINIA THE MUSICAL

MACY’S

DEPARTMENT STORE

JWT NEW YORK

USA

A05/168 ZZ SHOCK

DIAGEO

JEREMIAH WEED

CREATIVE ARTISTS AGENCY LOS ANGELES

USA

FRIDAY, JUNE 21, 2013


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© 2013 PwC. All rights reserved. Not for further distribution without the permission of PwC. “PwC” refers to the network of member firms of PricewaterhouseCoopers International Limited (PwCIL), or, as the context requires, individual member firms of the PwC network. Each member firm is a separate legal entity and does not act as agent of PwCIL or any other member firm. PwCIL does not provide any services to clients. PwCIL is not responsible or liable for the acts or omissions of any of its member firms nor can it control the exercise of their professional judgment or bind them in any way. No member firm is responsible or liable for the acts or omissions of any other member firm nor can it control the exercise of another member firm’s professional judgment or bind another member firm or PwCIL in any way.

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BRANDED CONTENT SHORTLIST CAT

TITLE

CLIENT

PRODUCT

29

CONTRIBUTING COMPANY

COUNTRY

BEST USE OR INTEGRATION OF MUSIC A06/003 THE V MOTION PROJECT

FRUCOR BEVERAGES

V ENERGY DRINK

COLENSO BBDO AUCKLAND

NEW ZEALAND

A06/005 MARIACHI

PEPSICO

DORITOS

ABBOTT MEAD VICKERS BBDO LONDON

UK

A06/006 TREE CONCERT

BUND/FRIENDS OF EARTH GERMANY

NATURE PROTECTION

BBDO GERMANY BERLIN

GERMANY

A06/010 SURPRISING MONSTERS CALLING HOME

AMERICAN HONDA MOTOR CO

HONDA LOVES YOU BACK

RPA SANTA MONICA

USA

A06/024 DUMB WAYS TO DIE

METRO TRAINS

METRO TRAINS

MCCANN MELBOURNE

AUSTRALIA

A06/046 TUNA TUNES

FOLLOWFISH (FISH & MORE)

TUNA

LEAGAS DELANEY HAMBURG

GERMANY

A06/054 A CHARITY RECORD LABEL

RAK ‘N’ROLL FOUNDATION

RAK’N’ROLL RECORDS

180HEARTBEATS+JUNG VON MATT WARSAW

POLAND

A06/070 LONGER MERRY CHRISTMAS

HEINEKEN

HEINEKEN

JWT SAN JUAN

PUERTO RICO

A06/093 EVERY BEAT MATTERS

SAVE THE CHILDREN

SAVE THE CHILDREN

BBDO NEW YORK

USA

A06/096 YES, VIRGINIA THE MUSICAL

MACY’S

DEPARTMENT STORE

JWT NEW YORK

USA

A06/097 ZZ SHOCK

DIAGEO

JEREMIAH WEED

CREATIVE ARTISTS AGENCY LOS ANGELES

USA

A06/099 SOUND TYPEFACE

CLUB NME BRASIL

MAGAZINE/WEBSITE

DDB BRASIL S O PAULO

BRAZIL

BEST USE OR INTEGRATION OF OFFLINE MEDIA SUCH AS PRINT, OUTDOOR ETC A07/002 TREE CONCERT

BUND/FRIENDS OF EARTH GERMANY

NATURE PROTECTION

BBDO GERMANY BERLIN

GERMANY

A07/004 BRIDGE OF LIFE

SAMSUNG LIFE INSURANCE

SAMSUNG LIFE INSURANCE

CHEIL WORLDWIDE SEOUL

SOUTH KOREA

A07/020 BOW

COCA-COLA

COCA-COLA

OGILVY & MATHER COLOMBIA BOGOT

COLOMBIA

A07/025 SURPRISE COLLECTION

P&G

ARIEL

AFRICA S O PAULO

BRAZIL

A07/027 IMMORTAL FANS

SPORT CLUB RECIFE

FOOTBALL CLUB

OGILVY BRASIL S O PAULO

BRAZIL

A07/032 IMAGINARY TOYS

FUNDACAO PAO DOS POBRES

CHARITY

DDB BRASIL S O PAULO

BRAZIL

BEST USE OR INTEGRATION OF GAMING A08/004 BUG RUN

VOLKSWAGEN GROUP SWEDEN

VOLKSWAGEN BEETLE

DDB STOCKHOLM

SWEDEN

A08/006 TELEKINIZE THE RAINBOW

SKITTLES

SKITTLES

CLEMENGER BBDO SYDNEY

AUSTRALIA

A08/009 THE LAST BARFIGHTER

BIG BOSS BREWING COMPANY

BEER

MCKINNEY DURHAM

USA

A08/024 STREET QUEST

VOLKSWAGEN

VW CORPORATE

OGILVY & MATHER CAPE TOWN

SOUTH AFRICA

A08/035 SECRET PLACE

NESTLE WATERS

PERRIER

OGILVY FRANCE PARIS

FRANCE

A08/036 NIKE+ KINECT TRAINING

NIKE

FITNESS TITLE FOR XBOX 360

AKQA LONDON

UK

A08/038 ONE DAY CEASEFIRE

PEACE ONE DAY

PUBLIC SERVICE

OGILVY & MATHER ADVERTISING SHANGHAI

CHINA

A08/042 DIKEMBE MUTOMBO’S 4 …

OLD SPICE

OLD SPICE CHAMPION

WIEDEN+KENNEDY PORTLAND

USA

BEST USE OR INTEGRATION OF DIGITAL OR SOCIAL MEDIA A09/016 THE BULLYING SIMULATOR

FRIENDS

ANTI-BULLYING ORGANISATION

LOWE BRINDFORS STOCKHOLM

SWEDEN

A09/020 THE BIG WAVE GOODBYE

AMSTERDAM AIRPORT SCHIPHOL

SCHIPHOL.NL

FHV BBDO AMSTERDAM

NETHERLANDS

A09/037 DUMB WAYS TO DIE

METRO TRAINS

METRO TRAINS

MCCANN MELBOURNE

AUSTRALIA

A09/051 8 MILLION PROTAGONISTS

VILLAGE VOICE NEWSPAPER

VILLAGE VOICE NEWSPAPER

LEO BURNETT NEW YORK

USA

A09/054 THE SOCIAL HOME TOUR 2.0

CARVALHO HOSKEN

CARVALHO HOSKEN

ARTPLAN RIO DE JANEIRO

BRAZIL

A09/075 THE STRATOS JUMP 1:350

REED EXHIBITIONS

MODEL MAKER FAIR

OGILVY & MATHER VIENNA

AUSTRIA

A09/090 SEND YOUR FACEBOOK PROFILE TO CAPE TOWN

CAPE TOWN TOURISM

CAPE TOWN

OGILVY & MATHER CAPE TOWN/R.E.C CAPE TOWN

SOUTH AFRICA

A09/092 HASHTAG KILLER

WATER IS LIFE

WATER IS LIFE

DDB NEW YORK

USA

A09/093 MOBILIZING THE 12TH MAN

C. S. HAMMAM-LIF

FOOTBALL CLUB

MEMAC OGILVY LABEL TUNISIA TUNIS/OGILVYACTION TUNISIA TUNIS

TUNISIA

A09/106 LIVE TWITTER FILM ‘UNDER CONTROL’

DUTCH FILM FESTIVAL

DUTCH FILM FESTIVAL 2012

WOEDEND! AMSTERDAM

NETHERLANDS

A09/114 SCREEN-AGE LOVE STORY

PLDT

MYDSL

ACE SAATCHI & SAATCHI MANILA

THE PHILIPPINES

A09/122 TRIAL BY TIMELINE

AMNESTY INTERNATIONAL

AMNESTY INTERNATIONAL

COLENSO BBDO AUCKLAND

NEW ZEALAND

A09/123 THE BEAUTY INSIDE

INTEL + TOSHIBA

TOSHIBA LAPTOP WITH INTEL INSIDE

PEREIRA & O’DELL SAN FRANCISCO

USA

A09/129 AT&T DIGITAL LIFE

AT&T

AT&T

BBDO NEW YORK

USA

A09/133 SAME SEX MARRIAGE

GOOGLE

GOOGLE +

OGILVY FRANCE PARIS

FRANCE

A09/142 SECRET FISHING SPOTS

HUTCHWILCO

MARINE SAFETY EQUIPMENT

DDB GROUP NEW ZEALAND AUCKLAND

NEW ZEALAND

BEST INTEGRATED CONTENT CAMPAIGN A10/010 DAYBREAK

AT&T

AT&T

BBDO NEW YORK

USA

A10/015 DUMB WAYS TO DIE

METRO TRAINS

METRO TRAINS

MCCANN MELBOURNE

AUSTRALIA

A10/023 SHARE A COKE AND A SONG

COCA-COLA

NON-ALCOHOLIC DRINK

HOST SYDNEY

AUSTRALIA

A10/029 LOVE IN THE END

MONDELEZ INTERNATIONAL

LACTA

OGILVYONE WORLDWIDE ATHENS/BOLD OGILVY & MATHER ATHENS

GREECE

A10/034 8 MILLION PROTAGONISTS

VILLAGE VOICE NEWSPAPER

VILLAGE VOICE NEWSPAPER

LEO BURNETT NEW YORK

USA

A10/053 PROMETHEUS INTEGRATED CAMPAIGN

TWENTIETH CENTURY FOX

PROMETHEUS FILM

IGNITION INTERACTIVE SANTA MONICA

USA

A10/064 A CHARITY RECORD LABEL

RAK ‘N’ROLL FOUNDATION

RAK’N’ROLL RECORDS

180HEARTBEATS+JUNG VON MATT WARSAW

POLAND

A10/065 OFFICIAL SPONSORSHIP OF AZERBAIJANI OLYMPIC WRESTLERS

P&G

FEBREZE

GREY NEW YORK

USA AUSTRALIA

A10/067 ROAD TO RECOVERY

DIAGEO AUSTRALIA

BUNDABERG RUM

LEO BURNETT SYDNEY

A10/069 THE BEAUTY INSIDE

INTEL + TOSHIBA

TOSHIBA LAPTOP WITH INTEL INSIDE

PEREIRA & O’DELL SAN FRANCISCO

USA

A10/074 THE MOVIE OUT HERE

LABATT BREWERIES OF CANADA

KOKANEE

GRIP LIMITED TORONTO

CANADA

A10/082 THE CANDIDATE

HEINEKEN INTERNATIONAL

HEINEKEN

PUBLICIS ITALY MILAN

ITALY

A10/112 MIKE AND IKE - THE BREAK-UP

JUST BORN

CANDY

NAIL PROVIDENCE/ELEVATOR SCITUATE

USA

A10/115 MY BLOOD IS RED AND BLACK

HEMOBA/ESPORTE CLUBE VIT RIA

FOOTBALL TEAM

LEO BURNETT TAILOR MADE S O PAULO

BRAZIL

A10/121 SCREEN-AGE LOVE STORY

PLDT

MYDSL

ACE SAATCHI & SAATCHI MANILA

PHILIPPINES

FRIDAY, JUNE 21, 2013


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TITANIUM SHORTLIST CAT

TITLE

CLIENT

PRODUCT

ENTRANT/AGENCY

COUNTRY

UNILEVER INTEL + TOSHIBA PROCTER & GAMBLE IBM HEMOBA/ESPORTE CLUBE VIT RIA GREY POUPON THE UNIVERSITY OF ENGINEERING AND TECHNOLOGY NIKE UNILEVER SPCA/MINI NEW ZEALAND FUNERAL INSURANCE COMPANY DELA SAMSUNG LIFE INSURANCE MINISTRY OF HEALTH AND LONG-TERM CARE COCA-COLA STUDIO BRUSSELS MINISTERIO DE DEFENSA GOOGLE/TOUS UNIS POUR L’EGALITE TERRA PORTAL METRO TRAINS BUND/FRIENDS OF EARTH GERMANY DE-DE HEINEKEN INTERNATIONAL ESPN UNILEVER OLD SPICE PRUDENTIAL AXE GOVERNMENT OF REPUBLIC OF MACEDONIA THE JFK PRESIDENTIAL LIBRARY & MUSEUM MUS E DE LA GRANDE GUERRE DU PAYS DE MEAUX

DOVE MASTERBRAND TOSHIBA LAPTOP WITH INTEL INSIDE P&G CORPORATE BRAND IBM RESEARCH FOOTBALL TEAM GREY POUPON ADMISSIONS 2013 CLOTHING, FOOTWEAR & ACCESSORIES RAGU SPCA/MINI NEW ZEALAND DELA BRAND SAMSUNG LIFE INSURANCE ANTI-SOCIAL SMOKING COCA-COLA MUSIC FOR LIFE PROGRAMA DE ATENCI N HUMANITARIA AL DESMOVILIZADO GOOGLE+ TERRA PORTAL METRO TRAINS NATURE PROTECTION THUNDERCLAP - SOCIAL MEDIA TECHNOLOGY HEINEKEN ESPN AXE PERSONAL CARE PRUDENTIAL FINANCIAL LYNX DAY FOR MUTUAL PRAYER CUBAN MISSILE CRISIS 50TH ANNIVERSARY MUS E DE LA GRANDE GUERRE DU PAYS DE MEAUX

OGILVY BRASIL S O PAULO PEREIRA & O’DELL SAN FRANCISCO WIEDEN+KENNEDY PORTLAND OGILVY NEW YORK LEO BURNETT TAILOR MADE S O PAULO CP+B BOULDER MAYO DRAFTFCB LIMA NIKE COMMS TEAM PORTLAND/WIEDEN+KENNEDY PORTLAND/AKQA LONDON BARTON F. GRAF 9000 NEW YORK DRAFTFCB NEW ZEALAND AUCKLAND OGILVY & MATHER AMSTERDAM CHEIL WORLDWIDE SEOUL BBDO TORONTO/PROXIMITY CANADA TORONTO LEO BURNETT SYDNEY/LEO BURNETT CHICAGO MORTIERBRIGADE BRUSSELS LOWE-SSP3 BOGOT OGILVY FRANCE PARIS DDB BRASIL S O PAULO MCCANN MELBOURNE BBDO GERMANY D SSELDORF/BBDO PROXIMITY BERLIN DE-DE NEW YORK PUBLICIS ITALY MILAN WIEDEN+KENNEDY NEW YORK BBH NEW YORK WIEDEN+KENNEDY PORTLAND DROGA5 NEW YORK BBH LONDON NEW MOMENT NEW IDEAS COMPANY SKOPJE THE MARTIN AGENCY RICHMOND/TOOL SANTA MONICA DDB PARIS

BRAZIL USA USA USA BRAZIL USA PERU USA USA NEW ZEALAND NETHERLANDS SOUTH KOREA CANADA AUSTRALIA BELGIUM COLOMBIA FRANCE BRAZIL AUSTRALIA GERMANY USA ITALY USA USA USA USA UK MACEDONIA USA FRANCE

TITANIUM AND INTEGRATED A01/001 A01/003 A01/006 A01/015 A01/019 A01/030 A01/051 A01/064 A01/092 A01/096 A01/146 A01/151 A01/168 A01/171 A01/173 A01/175 A01/181 A01/202 A01/207 A01/245 A01/246 A01/284 A01/295 A01/301 A01/307 A01/318 A01/328 A01/378 A01/396 A01/429

REAL BEAUTY SKETCHES THE BEAUTY INSIDE PROUD SPONSOR OF MOMS A BOY AND HIS ATOM… MY BLOOD IS RED AND BLACK PARDON ME POTABLE WATER GENERATOR FIND YOUR GREATNESS A LONG DAY OF CHILDHOOD DRIVING DOGS WHY WAIT UNTIL IT’S TOO LATE? BRIDGE OF LIFE SOCIAL SMOKING CAMPAIGN SMALL WORLD MACHINES MAKE IT TO MUSE OPERATION BETHLEHEM SAME SEX MARRIAGE TERRA VIP DUMB WAYS TO DIE TREE CONCERT THUNDERCLAP THE CANDIDATE TEAM SPIRIT SUSAN GLENN MUSCLE MUSIC THE CHALLENGE LAB APOLLO CAMPAIGN 10 METERS APART CLOUDS OVER CUBA FACEBOOK 1914

EVERYONE HAS A STORY, MAKE SURE IT’S TOLD RIGHT. Every story starts as an idea. A vision, inspired b y t h e e l e m e n t s t h a t s u r r o u n d u s - b e a u t y, people, life. Our job is to take these elements and to bring your story to life.

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FILM CRAFT SHORTLIST CAT

TITLE

CLIENT

PRODUCT

ENTRANT/AGENCY

PRDUCTION COMPANY

COUNTRY

ART DIRECTION/PRODUCT DESIGN A01/005 MODEL BRITAIN

TALKTALK

TALKTALK

CHI & PARTNERS LONDON

RATTLING STICK LONDON

UK

A01/010 CLOCK

DIAGEO

GUINNESS

ABBOTT MEAD VICKERS BBDO LONDON

GORGEOUS LONDON

UK

A01/023 METAMORPHOSIS

CREDIT SUISSE

CREDIT SUISSE

HAVAS WORLDWIDE LONDON

SKINFLICKS LONDON

UK

A01/024 THE SWITCH

HEINEKEN

HEINEKEN

STINK LONDON/TBWA\NEBOKO AMSTERDAM

STINK LONDON

UK

A01/026 PAINT IT BLACK

GUINNESS

ARTHUR’S DAY

SAATCHI & SAATCHI LONDON

SOMESUCH & CO LONDON

UK

A01/064 KING OF TV CITY

SAMSUNG

SAMSUNG SMART TV

CHI & PARTNERS LONDON

STINK LONDON

UK

A01/084 FAME

COTY

PERFUME

RSA FILMS NY/STARDUST VISIONS HOLLYWOOD

RSA FILMS NY/BLACK DOG FILMS LA

USA

A01/124 THE LOVER

COME4

NON-PROFIT PORN SITE

BEING BOULOGNE BILLANCOURT

HENRY DE CZAR PARIS

FRANCE

A01/129 PRISON BREAK

TATA SKY

TATA SKY+HD DIGITAL BOX WITH RECORD. FACILITY OGILVY & MATHER INDIA MUMBAI

CURIOUS MUMBAI

INDIA

A01/142 THE CHASE

GREY POUPON

GREY POUPON MUSTARD

HUNGRY MAN LA/CP+B BOULDER

HUNGRY MAN LA

USA

A01/143 WORLD TRADE FAIR 1963

STELLA ARTOIS

ALCHOL

SOMESUCH & CO LONDON/MOTHER LONDON

SOMESUCH & CO LONDON

UK

A01/149 SOUL

LEICA STORE S O PAULO

LEICA M-MONOCHROM

F/NAZCA SAATCHI & SAATCHI S O PAULO

SENTIMENTAL FILME S O PAULO

BRAZIL

A01/166 GET INVOLVED

NEWS INTERNATIONAL

THE SUN NEWSPAPER

GREY LONDON

CAVIAR FILMS LONDON

UK

DIRECTION A02/002 PARALLEL JOURNEYS

NIKE

NIKE

RAMESH DEO PROD.MUMBAI/JWT INDIA BANGALORE

RAMESH DEO PRODUCTIONS MUMBAI

INDIA

A02/006 MEET THE SUPERHUMANS

CHANNEL 4

ON AIR TV PROMOTION

4CREATIVE LONDON

4CREATIVE LONDON

UK

A02/009 10 YEARS LIVE

TOSHIBA CORPORATION

LED CEILING LIGHT

DENTSU TOKYO

SUN-AD COMPANY TOKYO

JAPAN

A02/011 UNCLE DREW

PEPSIMAX

PEPSIMAX

MINUSL NY/DAVIE-BROWN ENTERTAINMENT LA

MINUSL NY

USA

A02/014 SUMMER HATER

BGH

AIR CONDITIONER

DEL CAMPO SAATCHI & SAATCHI BUENOS AIRES

MJZ LONDON/LABHOUSE BUENOS AIRES

ARGENTINA

A02/016 MARTIN’S STORY

AUSTRALIAN GVT DEPART. OF FAMILIES…

CARE AWARE

AIRBAG PROD. /MCCANN WORLDGROUP MELBOURNE

AIRBAG PRODUCTIONS MELBOURNE

AUSTRALIA

A02/025 DREAMS

CAMELOT

LOTTERY GOOD CAUSES

ABBOTT MEAD VICKERS BBDO LONDON

ACADEMY FILMS LONDON

UK

A02/026 CLOCK

DIAGEO

GUINNESS

ABBOTT MEAD VICKERS BBDO LONDON

GORGEOUS LONDON

UK

A02/027 BEER CHASE

CARLTON UNITED BREWERS

CARLTON DRAUGHT

THE SWEET SHOP/CLEMENGER BBDO MELBOURNE

THE SWEET SHOP MELBOURNE

AUSTRALIA

A02/071 THE EXPRESS

HEINEKEN

HEINEKEN

MJZ LONDON/WIEDEN+KENNEDY AMSTERDAM

MJZ LONDON

UK

A02/083 RISE

UBISOFT EMEA

ASSASSIN’S CREED III

SID LEE PARIS

JIMMY LEE MONTR AL/FURLINED SANTA MONICA

FRANCE

A02/094 IRON HORSE

JAMESON

WHISKEY

SKUNK LA/TBWA\CHIAT\DAY NY

SKUNK LA

USA

A02/192 SUSAN GLENN

UNILEVER

AXE

RATTLING STICK LONDON/BBH NY

RATTLING STICK LONDON

UK

A02/222 JOGGER

NIKE

CLOTHING, FOOTWEAR & ACCESSORIES

PARK PICTURES NY/WIEDEN+KENNEDY PORTLAND

PARK PICTURES NY

USA

A02/227 WAKE UP

ADIDAS

ADIDAS

IMPERIAL WOODPECKER NY/180LA SANTA MONICA

IMPERIAL WOODPECKER NY

USA

A02/228 VAPOR

NIKE

NIKE

IMPERIAL WOODPECKER NY/WIEDEN+KENNEDY PORTLAND

IMPERIAL WOODPECKER NY

USA

A02/230 BOXER

BRANDHOUSE

AMSTEL LARGER

VELOCITY FILMS JOHANNESBURG/OWENKESSEL FOURWAYS

VELOCITY FILMS JOHANNESBURG

SOUTH AFRICA

A02/233 SKATE FORTWO

MERCEDES-BENZ

SMART FORTWO

WEAPON7 LONDON

PULSE FILMS LONDON

UK

A02/238 ADD DRAMA

TNT

TNT

CZAR.BE BRUSSELS/DUVAL GUILLAUME MODEM ANTWERP

CZAR.BE BRUSSELS

BELGIUM

A02/258 DEJA VU

HEINEKEN

HEINEKEN

MJZ LA/WIEDEN+KENNEDY NY

MJZ LA

USA

A02/265 LIFE RAFT

MONDELEZ INTERNATIONAL

OREO

MJZ LA/WIEDEN+KENNEDY PORTLAND

MJZ LA

USA

A02/266 WHISPER FIGHT

MONDELEZ INTERNATIONAL

OREO

MJZ LA/WIEDEN+KENNEDY PORTLAND

MJZ LA

USA

A02/269 RISE ABOVE

NIKE

NIKE

MJZ LA/WIEDEN+KENNEDY NY

MJZ LA

USA

A02/271 MUSCLE MUSIC

PROCTER & GAMBLE

OLD SPICE

MJZ LA/WIEDEN + KENNEDY PORTLAND

MJZ LA

USA

A02/273 WOLFTHORN

PROCTER & GAMBLE

OLD SPICE

MJZ LA/WIEDEN + KENNEDY PORTLAND

MJZ LA

USA

A02/275 RAIN

TIME WARNER CABLE

TIME WARNER

MJZ LA/OGILVY & MATHER NY

MJZ LA

USA

A02/279 THE COMMISSIONING

XBOX

XBOX HALO

MJZ LA/TWOFIFTEENMCCANN SAN FRANCISCO

MJZ LA

USA

A02/284 KAK

ADIDAS VENEZUELA

NATIONAL SOCCER TEAM

DRAFTFCB CARACAS

TRES PRODUCTIONS CARACAS

VENEZUELA

A02/286 BE GOOD WITH MONEY

BNZ

BNZ

REVOLVER/WILL O’ROURKE SYD./COLENSO BBDO AUCK.

REVOLVER/ WILL O’ROURKE /WILL O’ROURKE SYDNEY/PARKPIC. NY AUSTRALIA

A02/291 SS COLLECTION 2013

HAN KJ BENHAVN

HAN KJ BENHAVN

DDB COPENHAGEN COPENHAGEN

SPOILED PRODUCTIONS COPENHAGEN

A02/295 FOLLOW THE FROG

RAINFOREST ALLIANCE

THE RAINFOREST

HUNGRY MAN LA

WANDER LA

USA

A02/300 BEACH

BROWN-FORMAN

SOUTHERN COMFORT

BISCUIT FILMWORKS LA/WIEDEN+KENNEDY NY

BISCUIT FILMWORKS LA

USA

A02/303 BEING THERE

ORANGE

CAN 2013

MARCEL PARIS

U-MAN PARIS/VELOCITY FILMS JOHANNESBURG

FRANCE

A02/304 THE LOVER

COME4

NON-PROFIT PORN SITE

BEING BOULOGNE BILLANCOURT

HENRY DE CZAR PARIS/BACON FREDERIKSBERG

FRANCE

A02/305 PEDRO

VOLKSWAGEN

SIGN ASSIST

DDB TRIBAL BERLIN

BUBBLES FILM BERLIN

GERMANY

A02/312 BUCKET LIST

EXPEDIA

BRAND

REVOLVER/ WILL O’ROURKE SYDNEY/DDB SYDNEY

REVOLVER/WILL O’ROURKE SYDNEY/WILL O’ROURKE SYDNEY

AUSTRALIA UK

DENMARK

A02/337 THE FINAL

HEINEKEN

HEINEKEN

SONNY LONDON/WIEDEN+KENNEDY AMSTERDAM

SONNY LONDON

A02/346 THE CHASE

GREY POUPON

GREY POUPON MUSTARD

HUNGRY MAN LA/CP+B BOULDER

HUNGRY MAN LA

USA

A02/347 NO CUP IS SAFE

NIKE

NIKE GOLF

HUNGRY MAN LA/WIEDEN+KENNEDY PORTLAND

HUNGRY MAN LA

USA

A02/352 SOUL

LEICA STORE S O PAULO

LEICA M-MONOCHROM

F/NAZCA SAATCHI & SAATCHI S O PAULO

SENTIMENTAL FILME S O PAULO

BRAZIL

A02/356 CAMERA SHY

UNILEVER

DOVE BRAND

OGILVY & MATHER LONDON

EPOCH LONDON

UK

A02/390 GET INVOLVED

NEWS INTERNATIONAL

THE SUN NEWSPAPER

GREY LONDON

CAVIAR FILMS LONDON

UK

A02/404 SNAPDRAGON ‘COMING SOON’ QUALCOMM

SNAPDRAGON PROCESSORS

FRAMESTORE NY/OGILVY & MATHER CULVER CITY

FRAMESTORE NY

USA

A02/405 CRAZY FOR GOOD

COCA-COLA COMPANY

COCA-COLA GLOBAL CAMPAIGN

OGILVY BRASIL S O PAULO

SMUGGLER HOLLYWOOD

BRAZIL

A02/406 REAL BEAUTY SKETCHES

UNILEVER

DOVE MASTERBRAND

OGILVY BRASIL S O PAULO

PARANOID US CULVER CITY

BRAZIL

A03/002 MEET THE SUPERHUMANS

CHANNEL 4

ON AIR TV PROMOTION

4CREATIVE LONDON

4CREATIVE LONDON

UK

A03/004 CLOCK

DIAGEO

GUINNESS

ABBOTT MEAD VICKERS BBDO LONDON

GORGEOUS LONDON

UK

A03/032 TRUCE

LOGITECH

LOGITECH - UE

PRETTYBIRD CULVER CITY/DOJO SAN FRANCISCO

PRETTYBIRD CULVER CITY

USA

A03/058 TUMBLE

SCHWEPPES

SCHWEPPES

REVOLVER/ WILL O’ROURKE SYD./G. PATTERSON Y&R MELB.

REVOLVER/ WILL O’ROURKE /WILL O’ROURKE SYDNEY

AUSTRALIA

A03/061 CUT THROUGH LA

JORDAN

CP3.VI

BISCUIT FILMWORKS LA/WIEDEN+KENNEDY NY

BISCUIT FILMWORKS LA

USA

A03/079 THE CHASE

GREY POUPON

GREY POUPON MUSTARD

HUNGRY MAN LA/CP+B BOULDER

HUNGRY MAN LA

USA

BEST PRODUCTION VALUE

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TITLE

CLIENT

PRODUCT

ENTRANT/AGENCY

PRDUCTION COMPANY

COUNTRY

CHANNEL 4 HERBARIA LIFEBUOY FIORUCCI FOOD JOHN LEWIS COTY DICK’S SPORTING GOODS BRANDHOUSE HEINEKEN POWERADE COME 4 MCDONALD S YVES ST LAURENT LEICA STORE S O PAULO HONDA MOTO VODAFONE GROUP TRIBORD - OXYLANE GROUP NATIONAL GEOGRAPHIC SADIA

ON AIR TV PROMOTION CALMING TEA HAND WASH COLD CUTS DEPARTMENT STORE PERFUME DICK’S SPORTING GOODS AMSTEL LARGER HEINEKEN BRAND NON-PROFIT PORN SITE MCDONALD’S PERFUME LEICA M-MONOCHROM HONDA MOTO MOBILE PHONE PROVIDER SWIMSUITS RANGE 2012 NATIONAL GEOGRAPHIC HOT POCKET

VISION AT WIZZO LONDON/4CREATIVE LONDON TEMPOMEDIA FRANKFURT/JUNG VON MATT/NECKAR STUTTGART CHROME PIC. MUMBAI/LOWE LINTAS + PARTNERS MUMBAI MCCANN WORLDGROUP MILAN ADAM&EVEDDB LONDON RSA FILMS NY/STARDUST VISIONS HOLLYWOOD SMUGGLER HOLLYWOOD/ANOMALY NY VELOCITY FILMS JOBURG/OWENKESSEL FOURWAYS MJZ LA/WIEDEN+KENNEDY NY BISCUIT FILMWORKS LA/WIEDEN+KENNEDY PORTLAND BEING BOULOGNE BILLANCOURT ALMA DDB MIAMI LUXURY ARTS BOULOGNE-BILLANCOURT F/NAZCA SAATCHI & SAATCHI S O PAULO DDB PARIS GREY LONDON FRED & FARID PARIS BBDO NY DDB BRASIL S O PAULO

4CREATIVE LONDON TEMPOMEDIA FRANKFURT CHROME PICTURES MUMBAI MERCURIO CINEMATOGRAFICA MILAN BLINK PRODUCTIONS LONDON RSA FILMS NY/BLACK DOG FILMS LA SMUGGLER HOLLYWOOD VELOCITY FILMS JOHANNESBURG MJZ LA BISCUIT FILMWORKS LA HENRY DE CZAR PARIS/BACON FREDERIKSBERG @RADICAL.MEDIA SANTA MONICA \ELSE BOULOGNE-BILLANCOURT/ICONOCLAST PARIS SENTIMENTAL FILME S O PAULO CRAC PARIS ACADEMY FILMS LONDON MOONWALK FILMS PARIS CAVIAR CONTENT LA CENTRAL FILMS MEXICO CITY

UK GERMANY INDIA ITALY UK USA USA SOUTH AFRICA USA USA FRANCE USA FRANCE BRAZIL FRANCE UK FRANCE USA BRAZIL

MEET THE SUPERHUMANS DEJA VU THREAD THE COMMISSIONING SOUL VODAFONE - KISS LIFE CUTS TESTWIFE

CHANNEL 4 HEINEKEN LEVI STRAUSS & CO. MICROSOFT LEICA STORE S O PAULO VODAFONE GROUP GETTY IMAGES TOYOTA MOTOR EUROPE

PARALYMPICS HEINEKEN STAR BOTTLE GO FORTH XBOX/HALO 4 LEICA M-MONOCHROM MOBILE PHONE PROVIDER GETTY IMAGES TOYOTA GT86

STITCH EDITING LONDON/4CREATIVE LONDON WORK LONDON/WIEDEN+KENNEDY NY JOINT EDIT. PORTLAND/WIEDEN+KENNEDY PORTLAND FINAL CUT S. MONICA/TWOFIFTEENMCCANN S. FRANCISCO F/NAZCA SAATCHI & SAATCHI S O PAULO GREY LONDON ALMAPBBDO S O PAULO CAVIAR BRUSSELS/HAPPINESS BRUSSELS

4CREATIVE LONDON MJZ LA PARK PICTURES NY MJZ LA SENTIMENTAL FILME S O PAULO ACADEMY FILMS LONDON ZOLA S O PAULO CAVIAR BRUSSELS

UK UK USA USA BRAZIL UK BRAZIL BELGIUM

OFFROAD DUMB WAYS TO DIE BE GOOD WITH MONEY SUSAN GLENN ENDANGERED TOO CLOSE THE FARMERS OF ALSACE HOUSE HUNT FOR A FLEECE BLANK HASHTAG KILLER… SANDSTORM GNU TACTILE MUSIC SEAT THE SUN - GET INVOLVED

DAIMLER/SMART METRO TRAINS BNZ UNILEVER APES A PROJECT OF CONSERV.TRUST VOLKSWAGEN HEINEKEN UK NAT. CENTRE FOR DOMESTIC VIOLENCE FOOTACTION MATTEL WATER IS LIFE NATG O WILD NATG O WILD HYUNDAI MOTORS CORPORATION NEWS INTERNATIONAL

SMART FORTWO METRO TRAINS BNZ AXE CHARITY VOLKSWAGEN PARK DISTANCE CONTROL KRONENBOURG 1664 NATIONAL CENTRE FOR DOMESTIC VIOLENCE SPORTSWEAR STORE SCRABBLE BOARD GAME WATER IS LIFE (NON PROFIT) NATG O WILD NATG O WILD HYUNDAI SONATA THE SUN NEWSPAPER

BBDO GERMANY D SSELDORF MCCANN MELBOURNE COLENSO BBDO AUCKLAND BBH NY OGILVY & MATHER CHICAGO ADAM&EVEDDB LONDON OGILVY & MATHER LONDON JWT LONDON Y&R NY PEREIRA & O’DELL SAN FRANCISCO DDB NY DDB PARIS DDB PARIS INNOCEAN WORLDWIDE SEOUL GREY LONDON

BIGFISH FILMPRODUKTION BERLIN

GERMANY AUSTRALIA REVOLVER/WILL O’ROURKE/WILL O’ROURKE SYDNEY/PARK PIC. NY NEW ZEALAND RATTLING STICK LONDON USA THE CARTEL LA USA STATION FILM NY UK STINK LONDON UK RATTLING STICK LONDON UK F360 NY USA BISCUIT FILMWORKS LA USA USA STRIPES PARIS FRANCE STRIPES PARIS FRANCE PLANIT SEOUL SOUTH KOREA CAVIAR FILMS LONDON UK

NIKE CHANNEL 4 DINGER & PLOGHOEFT GBR SCHWEPPES AUSTRALIA LOLITA LEMPICKA HUTCHINSON 3G SICKKIDS SAMSUNG METRO TRAINS UNILEVER THE STAR CASINO HEINEKEN MTV BRASIL FLORIDA COALIT. AGAINST HUMAN TRAFFICK… O.P.I HONDA MOTO HEINEKEN NETHERLANDS SOUTHERN COMFORT DIAGEO

NIKE ON AIR TV PROMOTION CARABAO FITNESS CENTER SCHWEPPES LOLITA LEMPICKA 3 MOBILE SICKKIDS FOUNDATION SAMSUNG SMART TV METRO TRAINS AXE THE STAR CASINO HEINEKEN MTV BRASIL HUMAN RIGHTS ORGANIZATION NAIL POLISH HONDA MOTO HEINEKEN BEER SOUTHERN COMFORT JEREMIAH WEED

RAMESH DEO PROD. MUMBAI/JWT INDIA BANGALORE 4CREATIVE LONDON TBWA\GERMANY D SSELDORF GEORGE PATTERSON Y&R MELBOURNE BETC PARIS WAVE STUDIOS/WIEDEN+KENNEDY LONDON JWT TORONTO CHI & PARTNERS LONDON MCCANN MELBOURNE BBH NY THE MONKEYS SYDNEY MJZ LA/WIEDEN+KENNEDY NY LODUCCA S O PAULO MARCA MIAMI DAN\PARIS DDB PARIS TBWA\NEBOKO AMSTERDAM WIEDEN+KENNEDY NY CREATIVE ARTISTS AGENCY LA

RAMESH DEO PRODUCTIONS MUMBAI 4CREATIVE LONDON SQWAK PRODUCTIONS SALT LAKE CITY REVOLVER/ WILL O’ROURKE SYDNEY/WILL O’ROURKE SYDNEY ICONOCLAST PARIS BLINK PRODUCTIONS LONDON PARTNERS FILM TORONTO SOMESUCH & CO LONDON

CINEMATOGRAPHY A04/010 A04/024 A04/070 A04/089 A04/092 A04/097 A04/113 A04/125 A04/133 A04/147 A04/151 A04/154 A04/181 A04/182 A04/186 A04/193 A04/194 A04/195 A04/205

MEET THE SUPERHUMANS FEARS GONDAPPA THE PROFITEERS THE JOURNEY FAME DAY ONE BOXER DEJA VU MADE YOU LOOK THE LOVER CANCHA LA NUIT DE L’HOMME SOUL THE CENTAUR VODAFONE - KISS BACK TO WATER ANTHEM BOXER

EDITING A05/002 A05/006 A05/034 A05/091 A05/150 A05/166 A05/174 A05/182

SCRIPT A06/024 A06/068 A06/069 A06/088 A06/135 A06/150 A06/156 A06/160 A06/164 A06/166 A06/181 A06/186 A06/187 A06/189 A06/193

BEST USE OF MUSIC A07/003 A07/007 A07/021 A07/027 A07/046 A07/068 A07/078 A07/086 A07/092 A07/131 A07/144 A07/150 A07/175 A07/189 A07/199 A07/206 A07/214 A07/222 A07/230

PARALLEL JOURNEYS MEET THE SUPERHUMANS BEAT YOUR POUNDS TUMBLE PREMIER PARFUM THE MOON WALKING PONY YOU GOT IT CHARGE DUMB WAYS TO DIE OFFICE LOVE LOUNGIN’ DEJA VU ELVIS IS DEATH AUCTION INSTINCT OF COLOR THE CENTAUR THE SWITCH WHATEVER’S COMFORTABLE BEACH ZZ SHOCK

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CHI & PARTNERS LONDON DARW!N DIEGEM G-STAR RAW AMSTERDAM MCCANN MELBOURNE BISCUIT FILMWORKS LA/GREY NY WIEDEN+KENNEDY AMSTERDAM TBWA\PARIS CREATIVE ARTISTS AGENCY LA

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BRAZIL’S TIME HAS COME. UNEMPLOYMENT IS AT A RECORD LOW, BUSINESS IS BOOMING AND THERE IS AN UNPRECEDENTED SPIRIT OF INNOVATION AND ENTREPRENEURSHIP IN THE COUNTRY. ANDY FRY REPORTS

SPREADING THE HAPPINESS F

ROM the natural wonders of the Amazon jungle to the party atmosphere of Rio De Janeiro, Brazil has always captured the world’s imagination. But for much of the 20th century it was off the map as far as the international business community was concerned. A fragile economy, reactionary governments, poor infrastructure, extreme poverty and insular attitudes meant that it struggled to realise its commercial and creative potential. For many young people growing up in Brazil, it was viewed as the country of the future, in which the future never came… All that changed when Luiz Inacio Lula da Silva became president of Brazil in 2002. Under Lula, as he is affectionately known, and his successor Dilma Rousseff, Brazil has been transformed economically. A key beneficiary of this has been Brazil’s advertising sector. With a third of Brazil’s 190 million population now classified as middle class (compared to 15% in the Nineties), demand for cars, consumer electronics, plane tickets, FMCG products and much more has risen dramatically. As a direct result, domestic and international brands are spending an increasing amount on reaching out to their target audiences. According to a new forecast from ZenithOptimedia, Brazil’s advertising spend will reach $22bn in 2014, making it the world’s fifth biggest advertising market. In recent years, ad spend has been rising at a rate of between 10%-20% a year, well ahead of annual GDP. Increased consumer demand has led to increased competition between brands and agencies which, in turn, has led to better advertising creativity. While the country has always delivered good work, the last few years have seen agencies like Grupo ABC, Ogilvy & Mather (O&M) Brazil, AlmapBBDO and F/Nazca Saatchi & Saatchi achieve the recognition usually reserved for their US and

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Western European counterparts. On the production side, companies like Hungry Man, Paranoid, Stink, BossaNovaFilms, Zola, Mixer, Utopia and Sentimental have helped bring Brazilian talent to the world’s attention. Today, savvy, creative, multi-lingual Brazilians work in all the world’s major advertising hubs. Marianna Souza, executive manager of FilmBrazil, says the change in Brazil’s fortunes has been profound: “The explosive growth of Brazil’s domestic market and international standing, combined with the increased purchasing power of Brazilians, has made the advertising market much stronger. For many advertisers today, Brazil is considered to be Latin America’s main advertising hub. A growing number of international projects are being created and produced in Brazil and distributed to Latin America or around the world.” Anselmo Ramos, executive creative director at O&M Brazil, left Brazil when he was 24, working in the US and Europe for 12 years. He has been back in Brazil for six years and has found it greatly changed. “Brazil has always been very creative, but there is a new mindset because of the growing role Brazil now plays in the global economy,” he says. “To be a good agency in Brazil these days, you also need to be a good global agency.” Ramos, who sits on Ogilvy’s Worldwide Creative Council, says that message has really been taken to heart at his company, which produces high quality campaigns for brands including Dove. “We have won 37 Lions in three years, jumping from 43rd position in the Ogilvy Network to number one [in terms of Cannes awards won].” That’s quite an achievement when you consider that O&M was also named Network Of The Year at the 2012 Cannes Lions International Festival of Creativity. O&M Brazil’s contribution to that included four Golds for work with Sprite, Forbes, Claro and Hellman’s.

Brazil’s rising star has not gone unnoticed at the top of WPP-owned O&M, which gave its blessing to the launch of a new global shop, to be run jointly by O&M’s Brazilian and Argentinian offices. Called David (after ad man David Ogilvy), O&M worldwide chairman and CEO Miles Young, explains: “To date, there have been few truly global shops born out of the creative strength of Latin America. We believe the time is right to fuse the creative strengths of two of the region’s top markets, Argentina and Brazil, with the best of the rest of the world.” Luiz Sanches, creative director at AlmapBBDO, is another of Brazil’s big hitters at the Cannes Lions, having created award-winning work for brands including VW, Billboard and Bradesco Seguros. He thinks Brazil’s breakthrough on the global stage is explained by three factors: “The first is that Brazilians are used to working on low budgets, which has forced us to think hard about how to express the idea with the minimum of resources. That has attracted attention during the economic downturn. I think you can see this with Brazilian directors who can create fantastic work without burning through the budget.” The second is that “we are the only country in South America to speak Portuguese. This made us favour visual ideas in our advertising. In recent times,

ANSELMO RAMOS: “TO BE A GOOD AGENCY IN BRAZIL THESE DAYS, YOU ALSO NEED TO BE A GOOD GLOBAL AGENCY

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Scene from a spot for Close Up toothpaste, from Hungry Man director Carlao Busato

this emphasis on visual storytelling has helped when we create work with an international focus.” The third is that Brazil decided to take creative risks when the recession hit at the end of the last decade. “In a lot of markets, the response to the crisis was to be careful,” Sanches says. “But at AlmapBBDO, we went the other way and took some interesting creative risks. That helped us win the Cannes Lions Agency Of The Year twice in a row and also brought about a situation where we were given the lead role in global campaigns.” The new mindset among agencies has been matched by developments in the ad production sector. Alex Mehedeff, managing partner and executive producer of Hungry Man’s Brazilian office, says: “Between 2002-2005, there was a big influx of commercials being shot in Brazil because of the currency devaluation at the time. But once Brazil was on the radar, producers started to understand that there was a huge untapped market of talent here. You didn’t have to come to Brazil just because it was cheap or because of locations.” Mehedeff backs this up by pointing to the Mini Cooper ‘Counterfeit’ campaign, which won Gold and Titanium Lions for Crispin Porter + Bogusky (CP+B) and Hungry Man in 2005. Shot in Brazil by Hungry Man’s Bryan Buckley, it “showed there was a real opportunity to link the experience of international producers

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with the passion and talent in the local market”. Mehedeff says international involvement has played a key role in helping Brazilian creatives to raise their game: “Brazil is so big that for a long time producers here could live off their own market without having to interact with the outside world. At the same time, there were high trade barriers against foreign imports. So there was no real connection with what was going on outside the country. Now we’ve progressed to a point where we have Brazilian talent going abroad to direct international jobs [for example, a recent McDonald’s commercial shoot in Vienna].” This point is reinforced by the success of Jones+Tino, a directorial double act that joined the Stink stable in 2012. Jones+Tino established their reputation as talented creatives while working at leading agency F/Nazca Saatchi & Saatchi. Their big breakthrough came in 2011, when they co-directed an ad called ‘Addiction’ for Nike, featuring Brazilian soccer star Ronaldo. At this point, they left the agency to focus full-time on being directors. It was during this period that they made a high-profile film for Adidas. Shot in the US, the UK and Spain, the ad featured David Beckham, Lionel Messi and Katy Perry. According to Jones+Tino: “‘Addiction’ raised our profile but the Adidas job was the big turning point in our career,

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because we got to go abroad and work with international talent. We’re seeing a lot more examples of Brazilians going away to learn and then coming back with new ideas and skills they can use here. This is very important because Brazil doesn’t have the kind of strong cinematic tradition you see in the US or Europe.” The result of this fusion of ideas is that Brazil is being taken seriously as a global player, “but not in a cliched way where people only associate football or carnival with Brazil”, Jones+Tino say. “This is more about the way Brazilians combine their natural creativity and improvisation with a sense of business.” One of Brazil’s most successful and experienced producer/directors is Joao Daniel Tikhomiroff, founder and executive chairman of production company Mixer. He has won a staggering 41 Lions and is also a highly successful producer of film and television. According to Tikhomiroff, the evolution of the Brazilian advertising market has a lot to do with the unique nature of the country’s media landscape. “If you look back historically, Brazil won lots of Lions in the Press category. This was because Brazil’s newspaper and magazine market was very fragmented and encouraged a lot of creativity. The situation was different in TV because one company [Globo] dominated so much viewing, which meant there was less emphasis on creativity.” Globo is still the dominant free-to-air broadcaster but is now operating in a much more competitive environment, Tikhomiroff says. “The pay-TV market is growing fast and there are more consumers online and using

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smartphones. So this means advertisers have to find new ways of communicating if they want audiences to listen to what they are saying.” For example, there is a shift towards branded content, he says: “We called our company Mixer, because we expected there to be more integration between TV content and brands. Now, with increased production in pay TV, we are seeing it happen.” This assessment is echoed by others in the production sector. Jones+Tino say that Brazil “took a long time to get up to speed on integrated advertising” but is now starting to produce campaigns that are not just about TV or film craft, but have a more integrated vision. Another leading executive who has identified this trend is Paula Trabulsi, a partner at producer BossaNovaFilms. Working with Edu Tibirica, the main manager of BossaNova’s advertisement arm, she has begun exploring ways to bring the two sides of the business closer together. “Brands need to communicate with their audiences in new ways and we have the skills in our company to help them because we have worked across so many areas,” Trabulsi says. “We see that combination of brands and entertainment as a big part of our strategy now.” She cites two examples of work in which BossaNova is involved. The first is a web series called Penetras de Luxo, which tells the story of six friends who decide to gatecrash an exclusive VIP party in Sao Paulo. Streamed via internet provider Terra, the fictional storyline was played out against the backdrop of Planeta Terra, a festival organised by Terra. In addition, Unilever’s Close Up and Fiat 500

The white dunes and blue lagoons of the desert in the Lencois Maranhenses National Park, demonstrating the diversity of landscapes in Brazil. (Photo: Utopia Films )

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were integrated into the action. “It was a big success,” Trabulsi says, “because the brands involved were relevant to the story, not intrusive.” The second is #RioEuTeAmo, a Brazilian version of the franchise Cities Of Love, created by Emmanuel Benbihy. Partially financed by funds from federal and state tax incentives, #RioEuTeAmo is a feature film that will comprise 10 elements filmed by different directors. It has a transmedia component and involves O Boticario, Nextel, Santander and Unilever as brand partners. “What’s really interesting about this kind of project is that it makes you do business in a different way. It’s not all done inside the company. The process involves a mix of experts in marketing branding, production and digital,” Trabulsi says. Back at Hungry Man, Mehedeff outlines similar activity. He cites a division called Projects, which was set up specifically to work on multi-format campaigns. It was Projects that worked with O&M Brazil on ‘Sprite shower’, a campaign that won Promo & Activation and Outdoor Lions at the 2012 Festival. Despite this trend towards integrated, engagement-led advertising, Mixer’s Tikhomiroff says it would be premature to suggest that the Brazilian spot-ad sector is in decline as a result. “Globo is still getting huge audiences, so we are now seeing some very creative commercials,” he says. With 63% of Brazilian ad spend still heading in the direction of TV, “the key for Brazilian production companies is to get the right balance between spot ads and new forms of digital and integrated communication”. This view is shared by AlmapBBDO’s Luiz Sanches. “We were really pleased to win a Mobile Gold at Cannes Lions last year,” he says, “because we are looking at ways to innovate in digital media. But Globo is a phenomenon unlike anything else in the world of television. Every night it gets an audience roughly the size of the NFL Superbowl, so we need to focus on that too.” Many of the above trends are confirmed by Irma Palma, a well-known producer who recently opened a new firm called Zola. Underlining the need for a diverse skillset, she says Zola activities include “advertising, branded entertainment, content for digital

Luiz Sanches: “In a lot of markets, the response to the crisis was to be careful. We went the other way and took some interesting creative risks”

20/06/13 18:31


HOW MUCH DO YOU KNOW ABOUT BRAZIL? Everyone knows something about Brazil. But there are some things you can only find out through Meio & Mensagem. Meio & Mensagem has been the leading publication in the communications, marketing and media industry in Brazil for 35 years. Brazil has been in the spotlight in the last few years and brought great business opportunities to global organizations. With that in mind, Meio & Mensagem started an English version of its website showing the main Brazilian advertising market news with international relevance displaying overall view on demographics, consumption, communication, major media players and advertising agencies.

Sign up for our FREE weekly newsletter and get full information on the Brazilian market. www.meioemensagem.com

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5 times World Cup soccer winner The world’s largest carnival parade Caipirinha – Brazil’s national cocktail World Cup 2014 Olympic Games 2016 Gisele Bündchen The largest Latin American city World’s largest ethanol exporter The world’s largest tropical rain forest Bossa Nova Turnover of US$ 22.86 billion for its advertising industry 79 Lions in Cannes last year Sixth largest advertising market in 2012 global rank World’s third largest internet user base

Cannes Lions Official Sponsor

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media, events and brands, as well as exhibitions, visual concepts for shows and production services”. Clients include Fiat, Unilever, Honda, Coca-Cola, Toyota and Kraft Foods. The majority of Zola’s work is domestic, but Palma and co-founder Carlos Manga Jr also have strong track records working on international projects. This is having an impact on Zola’s bookings. “In the past two months, we have produced 11 projects for the local market and one for an international account,” Palma reports. “We have also provided a quote for a full-service project for Germany to be filmed in Brazil and production services for companies in England and Argentina.” Although exchange rates are currently making Brazil more expensive for international producers to film in, Palma says the country’s infrastructure is now good enough to handle most foreign-originated jobs: “In terms of talent and capacity, Brazil is a very strong player. The technical and artistic teams are very good. The studio, equipment and post-production facilities can also handle important productions. At Zola, we have professionals who have experience producing internationally and can communicate in several languages.” All of which is good news for the coming period. Next year Brazil hosts the World Cup for the first time since 1950. And after that, Rio will host the Summer Olympics in 2016. “Undoubtedly, the upcoming sports events will benefit local production as a whole,” Palma says. “Clients from all over the world will want to shoot in the main cities.” Marcos Araujo, executive partner of Sentimental Filme, says his firm — one of Brazil’s top producers — has worked with brands including VW, Pepsi, Ford, P&G, Visa, Fiat, Panasonic

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and AB InBev. Like Palma, he expects the big sports events to raise Brazil’s profile as a potential production partner. In addition, he thinks this period of activity will consolidate his country’s role as a Latin American centre of excellence: “Brazil is an excellent hub because Sao Paulo and Rio have a great and developed film industry, allowing partnerships with other production centres in Latin America. We have already filmed this year in Cuba and had further productions in Chile, Argentina and Uruguay.” Sentimental’s Cuban project is tipped to do well at this year’s Cannes Lions. ‘Entitled soul’ is a film for Leica M Monochrom that was directed by Vellas for F/Nazca Saatchi & Saatchi. Shot in evocative black-and-white film with a German voice-over, the ad uses stunning images to show the many ways in

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which Leica has led the development of monochrome photography. Having won Gold in Direction and Cinematography at the Clio Awards, it is a classic example of the way in which Brazil is hitting new creative heights. Back on the agency side, O&M’s Ramos believes the upcoming period will see more great creative work: “So many brands will be trying to make a connection with audiences around the World Cup next year that they will need great creative work to stand out. I’m hoping it will be a great showcase for Brazilian advertising — our equivalent of NFL Super Bowl.”

JOAO DANIEL TIKHOMIROFF: “THE KEY IS TO GET THE RIGHT BALANCE BETWEEN SPOT ADS AND NEW FORMS OF DIGITAL AND INTEGRATED COMMUNICATION”

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BRAZIL’S DOMESTIC ADVERTISING MARKET IS BOOMING. BUT WHY SHOULD AN INTERNATIONAL PRODUCER CHOOSE BRAZIL AS A LOCATION? ANDY FRY ASKS THE EXPERTS

SHOOTING IN BRAZIL

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TOPIA Films is focused mainly on production service for international production companies, ad agencies and still photographers, according to Justin Bird, who runs the company’s production service arm out of Rio de Janeiro. “Recently, we have been doing campaigns for foreign agencies and clients who are establishing themselves in Brazil, such as Panasonic [with footballer Neymar] and Ferrero Rocher brand Raffaello.” According to Bird, one of Brazil’s big advantages is its superb locations, with Rio the jewel in the crown: “The beauty of Rio is that you can shoot many different looks in one city. It has old-world colonial, Mediterranean, Seventies European, ultra-modern, Amazonian jungle, tropical waterfalls, Caribbean-style beaches, slums, a pirate village, Bavarian German houses, the largest urban forest in the world, mountains, city by the beach, gorgeous weather, gorgeous women… the list doesn’t end.” Outside Rio, there are unique desert lakes in Lencois Maranhenses to the north. And to the south there are vast canyons and huge waterfalls. “Brazil has a little bit of everything,” Bird adds. “It’s an endless palette of unique looks.” Bird is equally upbeat about the talent: “Brazil is famous for its beautiful models, and is often used as a source of casting for spots shot in Argentina and other parts of the world. The prices for models are reasonable [though sometimes heavy negotiating is needed] and the quality is high. Brazilian crews are also good and they’re experienced when it comes to working with international productions. Key crew members speak English.” As for the more specialist roles, Bird says: “There is a good pool of

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directors, designers and art directors, with good international experience. There are no mega Hollywood- or Pinewood-style studios, but the studios are sufficient for commercials production. Sao Paulo leads the way and is home to some of the better post houses. But Rio de Janeiro has modern, air-conditioned, soundproofed studios.” In terms of the practicalities, Sao Paulo is the commercial and financial hub of Brazil — and is therefore home to the ad agencies. Rio, by contrast, is where most foreign commercials are shot. As for permission to shoot, Bird advises foreign production companies to hire a Brazilian company to organise the production and any visa requirements.

LEYLA FERNANDES

But the process is easy, he insists. The Brazilian company provides a production agreement for the foreign company to sign, which is sent to ANCINE (National Film Agency). In one-to-five days, ANCINE sends a letter authorising visas for the foreign crew. In the case of EU countries, no visa is required for Brazil, but the ANCINE letter is needed to temporarily import items for the production. The import process is also now very easy — it used to be a nightmare. Baggage clears customs immediately, while items sent by shipment clear in one-to-five days, although it is wise to allow 10 days. In terms of downsides, Bird picks out two. Firstly, although there is a pool of good directors, Brazil is still a pretty closed market in this area: “There are very few foreign directors. As the market expands, I think Brazil will have to re-think its policy of penalising Brazilian productions that use foreign directors. Brazilians are good but, without outside ideas, I can see creativity stagnating.” Secondly, Brazil is considered to be expensive because the exchange rate is not as favourable as that of Argentina. “But it depends on the specifics of the job,” Bird adds. “We have bid against Argentina and South Africa on several jobs and our prices have been about the same.” Incentives for commercials production would help to make Brazil more attractive. “These are being developed, but Brazil is still in the learning stage when it comes to the benefit of incentives,” Bird says, adding that Rio Film Commission does now offer some incentive programmes. Much of the credit for Brazil’s growing international reputation must go to FilmBrazil, run by the Brazilian producer’s association

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APRO in partnership with the Brazilian Trade and Investment Promotion Agency (Apex-Brasil) and the foreign affairs ministry. Marianna Souza, executive manager of FilmBrazil, says its mission is “to promote Brazil as an international production hub, and to foster relationships between Brazilian producers and international professionals with the aim of increasing the flow of business to our country”. FilmBrazil achieves this by participating in international events such as the Cannes Lions, where it sponsors the Film Craft category, hosts a 100 sq m lounge on the beach and subsidises the participation of more than 30 Brazilian producers. “We also oversee the FilmBrazil Experience,” Souza says. “This allows foreign professionals to explore the rich infrastructure of production services and opportunities available in Brazil.” FilmBrazil Experience is always anchored to a Brazilian event of international significance, such as carnival or the F1 Grand Prix. “This

JUSTIN BIRD “BRAZIL HAS A LITTLE BIT OF EVERYTHING... AN ENDLESS PALETTE OF UNIQUE LOOKS” year, following Cannes, we have a group coming to Rio for the FIFA Confederations Cup,” Souza adds. While FilmBrazil is focused on international networking and delivery, parent body APRO’s goals are to “structure the internal market, standardise procedures and work to help our companies grow”, says APRO president Leyla Fernandes. APRO currently comprises 106 production and post-production companies, together representing 80% of Brazil’s total advertising production sector. According to ANCINE (National Film Agency), Brazilian production companies produced 16,000 projects in 2012, generating approximately $2.5bn and 450,000 jobs. Like FilmBrazil, APRO is a proactive organisation, Fernandes says: “APRO engages in numerous practical activities such as the development of official documents, courses, workshops and direct assistance for our associated companies. Over the years we have developed a dialogue at the international level, sharing information and experiences with associations similar to APRO in countries such as the US, the UK and Mexico.”

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capacity, but for the creativity of its talents.

WHAT ARE THE MAIN ADVANTAGES OF FILMING IN BRAZIL?

APEX-BRASIL PRESIDENT MAURICIO BORGES THE BRAZILIAN AGENCY FOR PROMOTION OF EXPORTS AND INVESTMENTS (APEXBRASIL) IS RESPONSIBLE FOR PROMOTING EXPORTS OF BRAZILIAN PRODUCTS AND SERVICES. ANDY FRY SPOKE TO ITS PRESIDENT, MAURICIO BORGES

once displayed in other parts of the world, have the potential to generate new business for Brazil.

WHAT DIFFERENCE HAS THE FILMBRAZIL PROJECT MADE?

Apex-Brasil operates in cooperation with government agencies and business entities on the promotion of exports. It supports 83 sectors of the Brazilian economy grouped into six large production complexes. Film production for advertising fits into the creative economy complex, and thus receives support. Since 2005, ApexBrasil has been a partner in the FilmBrazil project.

One of the strengths of its work is the agenda organised at the Cannes Lions Festival to promote excellence in the Brazilian advertising production industry. The business roundtables that make up the FilmBrazil Experience have shown excellent results. Through this activity, agency owners, foreign producers and trendsetters have strengthened relationships and got to know the excellence of Brazilian advertising production. In 2010, the companies participating in FilmBrazil generated business of $8.1m. Last year, the business generated by the project totalled $23.5m. In 2012, producers associated with the Project accounted for 64% of all films produced in Brazil. The quality and creativity of Brazilian advertising have been recognised worldwide. At the Cannes Lions Festival, in 2011, Brazil won 68 Lions. In 2012, it won 79 Lions.

WHY IS ADVERTISING REGARDED AS A STRATEGIC PRIORITY?

WHERE DOES FILMBRAZIL FOCUS ITS EFFORTS?

The production of an advertising film circulates around $500,000 and has immediate repercussions in generating business for hotels, restaurants, shops and transportation services, among others. The images of the cities where the filming is carried out,

The strategy is focused on mature and demanding markets in the US and Europe, and the results have been positive, as the US and Britain were the countries that contracted the most services in Brazil the last two years. Today Brazil is known not only for its

WHAT IS THE ROLE OF APEX-BRASIL?

The make-up of the Brazilian population, a combination of people with indigenous, European, African and Asian roots; the richness and diversity of food, music, crafts, architecture, artistic productions and festivals; talented professionals with international experience; a strong economy, with space for new businesses, investments and partnerships; an established and expanding advertising production industry which is technologically up-todate; good infrastructure for production and service provision; policy co-ordination among government agencies and the private sector; and wide variety of locations.

ANCINE PRESIDENT MANOEL RANGEL

ANCINE FOSTERS, REGULATES AND INSPECTS THE CINEMA AND AUDIOVISUAL SECTORS IN BRAZIL. ANDY FRY SPOKE TO ITS PRESIDENT MANOEL RANGEL

EXPLAIN THE ROLE OF ACINE IN BRAZIL It co-ordinates incentive laws and launches annually notices of direct promotion, linked to commercial development and participation in festivals. Since 2008, ANCINE also manages the Audiovisual Sector Fund (Fundo Setorial do Audiovisual), which invests significant sums in production and distribution projects of cinema and television. ANCINE is also responsible for the promotion and regulation of pay TV in the country, which includes the obligation of programming national and independent content in primetime and the

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inclusion of Brazilian channels in the packages offered to subscribers.

How has the audiovisual sector changed since ANCINE was set up in 2001? The market has grown and evolved. We went from 30 annual releases of feature films in movie theatres to about 90-100, with a market share having reached 18%. ANCINE has consolidated a public policy that contemplates in an articulate manner all links in the production chain, creating economic conditions for a cycle of sustainable development of the sector.

What has ANCINE done to help the advertising business? ANCINE protects and stimulates advertisement companies and its professionals, through rules that define the nature of Brazilian advertising audiovisual works,

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through the collection of the CONDECINE [Contribution to the Development of a National Film Industry] fee and through requiring that all advertising aimed at Brazilians be made through national advertisement agencies. We understand that it is important to continue improving the relationship between advertisers, agencies and production companies to avoid the degradation of technical and artistic work of Brazilian producers.

with the attraction of foreign investments and partnerships, leveraging the Brazilian content production as well as production services. The presence of talents from other countries that decided to come here and enrich our production is welcome. What we cannot agree with is substituting our production companies and our talents for the import of advertisement works made in foreign countries. The internal market is a national asset and should be treated as such.

how do you strike a balance between growing domestic talent and encouraging foreign talent into the country?

Do you think the World Cup and Olympics will provide an important boost for companies in the sector?

ANCINE’s focus is the development and occupation of the internal market, with the enhancement and growth of Brazilian companies and professionals. We understand that it is perfectly compatible

The World Cup and Olympics will represent opportunities for people around the world to know the strength of our country, with a lot of opportunities for new businesses.

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BRAZILIAN ADVERTISING IS WORKING HARD TO MOVE BEYOND ITS TRADITIONAL STRONGHOLDS OF TV AND PRINT. FERNANDO SCHELLER OF O ESTADO DE SAO PAULO EXPLAINS HOW

RE-BRANDING BRAZIL T HE BRAZILIAN advertising market is still pretty much tied to traditional media. This is because, while internet connection rates in the country are on the rise, printed media and, specifically, television still play a major role when the goal is to reach the broadest audience possible. Although its total rates have been dropping over the years, TV Globo — the largest media conglomerate in Brazil — can still reach three million people in primetime in the city of Sao Paulo alone. It is a force to be reckoned with and companies want to spend their media budgets on a safe bet. This also helps to explain why branded content for alternative media outlets has been slower to break through in Brazil than in other markets. However, according to both agencies and brands, that is about to change — and change soon. In a March visit to Sao Paulo, Philip Thomas, CEO of the Cannes Lions International Festival Of Creativity, advised Brazil’s advertising community that, if it wanted to remain relevant in the long term, it must expand out of traditional media. The signs that Brazil is lagging behind when it comes to the production of alternative content for the multimedia platforms are clear. One of them comes straight from the Cannes Lions itself: of the 80 Lions that Brazilian agencies brought home last year, about half came from the most traditional categories: Press, Outdoor and Film. But to produce more work that moves beyond the traditional forms of advertising, agencies must find a way to include new voices in the development of branded content. In the near future, production companies, talent agencies and even traditional news organisations will be helping to shape how companies package and deliver their message to their target audiences. In other words, the dominance of the 30-second commercial break is about ready for its swan song — even in the country of television. In the last 12 months, Brazilian agencies and brands have been attempting to carve out new niches in their country’s growing consumer market by pushing themselves to think outside of the box. Although the results do not hit the target every time, several brands have distin-

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guished themselves by creating their own content and delivering it in creative ways. P&G, after collecting a number of awards at the 2012 Cannes Lions for its ‘Global moms’ campaign, has been among the most aggressive in pursuing the goal of being omnipresent in the consumers’ minds. From a sponsored interview with model Giselle Bundchen in a Saturdayafternoon celebrity show on TV Globo to discreet advertising written into the plot of box-office hits in Brazilian cinemas, P&G is an example of a client that pushes its agencies towards doing something different. In other words, P&G has understood that advertising now has to sound less and less like advertising to be truly effective. Aricio Fortes, creative director at Africa, one of the agencies that forms part of the Nizan Guanaes-led Group ABC, says that P&G has even found a way to promote a product in mixed martial arts (MMA) matches — a sport that has become popular in Brazil in recent years. In order to promote Oral-B 3D White, a tooth-whitening product, the company has convinced one of the fighters to wear a LED-lighted boxing mouthguard. “Branded content usually demands more complex work, because the format is less rigid than a normal TV ad,” Fortes says. “It’s important, however, that people don’t fall so in love with their idea that they lose sight of the connection of the story being told with the brand’s values. This should remain the main concern of the creative team, no matter how crazy people might get with a concept.” Another noticeable trend in branded content, according to Aurelio Lopes, CEO of Giovanni + Draftfcb Brazil, is that content should be more directly targeted, the idea being that a certain group of people feel that a brand is creating something specially for them. This can be done in different ways, but the most common is delivering some kind of positive experience to the consumer in the form of information, entertainment or even a service. Giovanni + Draftfcb Brazil, Lopes says, has gone in various different directions according to its clients’ needs. For example, for Nivea, the skincare brand of German giant Beiersdorf, the agency created a

series of live Brazilian music concerts in several cities that people could watch for free. It adopted a different approach for construction company Gafisa, gathering consumers’ opinions in order to build a ‘collaborative’ residential building. The process of selecting ideas was filmed and released as a five-minute TV show on Brazil’s Discovery Channel. “About 3,000 ideas were submitted. Besides the TV programme, the results will be applied to one of Gafisa’s new projects, to be built in an upper-class neighbourhood of Sao Paulo,” Lopes says. The blending of different media in one strategy is also a clear trend when it comes to branded content. JWT Brazil, along with the digital agency SapientNitro iThink, is developing a multimedia project for Mondelez International’s Philadelphia Cream Cheese. Instead of concentrating on the product, the campaign is focusing on the concept of cooking as therapy, which it is spreading it out through TV shows and internet initiatives. “I think we are slowly heading towards a reality in which a campaign will be an ecosystem of different initiatives, including relevant content, entertainment and public service,” says Marcelo Tripoli, CEO at SapientNitro iThink. “Relevance has always been a key factor for advertising. The Michelin restaurant guide is one of the great examples of a relevant service provided by a brand. And it is very old indeed — it was first published in France more than 110 years ago. It creates value both for the client and for consumers. That’s the direction in which we are now headed — but with the advantage of having a much wider variety of media to help us to display good work.”

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ARGENTINA — THE COUNTRY OF MARADONA, MESSI AND POPE FRANCIS — IS A CREATIVE POWERHOUSE. AND THE CANNES LIONS HAS PLAYED A KEY ROLE IN FURTHERING ITS GLOBAL AMBITIONS. CARLOS ACOSTA REPORTS

THE HELPING HAND OF CANNES J UST over 20 years ago, Argentina saw the beginnings of a highly interesting creative movement — a movement that, with some interruptions, has endured to this day. Reflecting it journalistically, acting almost like a historical witness, was Reporte Publicidad. At that time, Argentina was beginning to generate very good advertising creativity and it was important to give it coverage because our country was known for some issues that were not always positive — and a Maradona who often generated conflicting feelings. It was also important for festival attendees to get to know the thinking of our jurors and the context in which our style of advertising communication had developed. These were the reasons for the birth of Reporte Publicidad. Our magazine’s first visit appearance at the Cannes Lions Festival of Creativity — in both Spanish and English versions — took place the year the festival turned 40. Those were the days in which few

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Lions were awarded, and in only two categories: Print and Film. There were also fewer delegates and the few international journals were chaotically scattered around the Palais. When the festival celebrated its 50th anniversary, the Lions Daily News invited me to write a column about Argentine creativity. At the time, our country was emerging from an almost terminal political, social and economic crisis. I recall that the title of the article was All-Terrain Argentine Creativity. That same capacity for adaptation that had been so successful when applied to advertising also proved to be effective when it came to escaping from that deep crisis. Our difficulties were much more complex than the ones currently besetting Europe and, especially, Spain — yet they did not prevent us from producing very good creativity with the extremely scarce resources available. The crisis was overcome and we learned in the process. ‘Maradonian talent’ multiplied, spreading Argentine

THE COUNTRY OF MARADONA, MESSI AND THE POPE FRANCIS

professionals around the world, thinking up strategies and campaigns for the biggest global brands, and achieving not only a Messi but also a pope, Francis — Argentine to the core. Today our country and region are watched by a world seeking answers to many issues that ‘development’, as it is understood by the powers-that-be, cannot find. Although there are advantages that are not always easy to explain, it’s important to make it clear that nothing is happenstance or is built up overnight. It takes time and talent — something that does us Argentines good and in some instances also does us ill. In the specific case of Argentine advertising, the Cannes Lions has been a great opportunity and one that we have been able to make the most of. After the first 20 years of Reporte Publicidad, there is much we must thank Cannes for. We also wish the festival, as is fitting, a happy 60th anniversary. It well deserves it.

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ARGENTINA’S REPUTATION AS A CREATIVE HOT SPOT HAS NEVER BEEN HIGHER. BUT THIS COMES SET AGAINST A BACKDROP OF LOW EXCHANGE RATES PUTTING PRESSURE ON PRODUCTION SERVICE COMPANIES. ARGENTINA’S SOLUTION? BE EVEN BETTER. GARY SMITH REPORTS

REACHING NEW HEIGHTS W

HILE the volume of production services in Buenos Aires has declined in the past three years, today’s economic situation is encouraging some international customers, including the US and certain European countries, to look again at Argentina as a location. “Brazilians are also looking at our market, and there are more and more campaigns co-produced by Brazil and Argentina,” Javier Nir, director at Oruga Cine, says. “We are working primarily with clients from Mexico, Brazil and the US Hispanic market, and to a lesser degree from Colombia and Chile. While emerging markets like Uruguay and Chile are economically attractive, they haven’t yet reached the level of production values and casting that we have in Argentina.” Ioni Boris, executive producer at Oruga Cine, points to a couple of recent campaigns of which that he and Nir are particularly proud. “The regional campaign we designed for Quaker was already an innovative piece in the history of brand communication,” he says. “On top of that, there was an interesting production challenge that required the co-ordination of actors with exploding buildings. Another campaign that we particularly liked was ‘Convenience’ for the Personal brand, because it reflects a particular characteristic of Argentinian production and creativity — that a good idea and good production values can turn a promo campaign into a much bigger idea.” Boris also cites Oruga Cine’s campaign for the Asepxia cosmetic line, which is in competition at the Lions this year, along with the company’s ‘Huggies’ campaign for Father’s Day. Argentina’s regional links are to some degree compensating for a drop in business from elsewhere but, says

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ArgentinaCine executive producer Nano Tidoni, another option is to go where the work is: “We are often on the road, collaborating with clients from Europe, North America, Latin America and Asia,” he says. “We are well aware of the global economic situation, but our goal is to maintain our production standards. For us, the priority is always to deliver what agencies and clients expect.” Consequently, he is happy with everything that ArgentinaCine has taken on: “We are proud of every job we have done — and of the upcoming ones as well. For our local market, Quilmes’ ‘Equalism’ was a balanced piece. We got to mix interesting acting performances, locations and the strong production values necessary to tell such a massive story. We also really enjoyed one of our latest international jobs, ‘A taste less ordinary’ for Bulgaria’s Zagorka beer. We had a lot of fun on set with our friends at BBH London. The scripts featured great stories, and used a sense of humour and effects to create hilarious spots.” So what does it take to stand out in such a competitive market? Good working relationships, professionalism and the ability to deliver consistent quality, according to Tidoni. “We get to work with interesting and prestigious clients, agencies and production houses around the world because, over the last 12 years, we have built strong relationships with them,” he says. “That’s probably why everything happens in a smooth, professional way. The quality of our directors is another reason why clients trust us with their projects.” ArgentinaCine is now launching its own operation in Chile. “It’s a beautiful country and it means we’ll be able to give our clients more options,” Tidoni adds. According to Gaby Carcova, executive

producer at Primo, the reasons why the company is thriving are very straightforward: “We focus on quality. We choose the scripts and we work as a team.” Among the recent jobs that stand out for Carcova are ‘A singular man’ by Nico & Martin for Andes Beer, “because it’s a very creative piece shot beautifully”; and Fiorucci’s ‘Profiteers’ by Nico Perez Veiga, which was shot in just three days and is “a super-rich piece, very cinematic, driving, entertaining and funny”. Carcova is also proud of ‘Renault duster riders’ by Felipe: “It’s a great idea and Felipe shot it beautifully. I like the music choice, the editing, the locations and the casting. It’s great work. And on the production services side, Evian’s ‘Baby and me’, produced by Iconoclast and directed by We Are From LA was a job we loved being part of. It’s innovative and very challenging and We Are From LA are adorable. It was a wonderful experience.” Primo has entered into a relationship with French company Iconoclast in order to expand its international reach. “The co-operation with Iconoclast is going very

GABY CARCOVA “WE FOCUS ON QUALITY. WE CHOOSE THE SCRIPTS AND WE WORK AS A TEAM.”

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NO BAD ANGLES GABY Carcova, executive producer at Primo, names Buenos Aires as her favourite location. “Lots of wonderful TV commercials and films have been shot in the city,” she says. “There’s always a special angle to capture. I like the variety; I like the elegance and charm. And I like the fact that you can dress Buenos Aires up as almost any other city in the world, or see her for who she is.”

AAP AT 80

Rooftop view of Plaza de los dos Congresos, Buenos Aires

well,” Carcova reports. “We joined forces almost a year ago to work together in France and Argentina, which then grew to include Brazil. We hope it will continue to grow and produce great work.” She adds that Primo’s directors are represented by top production companies, including Little Minx in the US, D’AvantGarde in the US Hispanic market, Pulse in the UK, Iconoclast and Standard Films in France, Markenfilm in Germany and Switzerland, Lee Films in Spain and Mercurio Cinematografica in Italy. Director and partner at Landia Andy Fogwill has just finished shooting a movie with Iggy Pop. “It was a Schweppes project with China agency from Madrid,” he says. “We also did a big campaign for Coca-Cola with McCann Spain, as well as another for Coca-Cola with David of Argentina.” Other notable projects include content for Axe with Ponce Buenos Aires, which uses anaglyphic technology in an innovative way; “a very emotive spot” for Toyota with Del Campo Saatchi & Saatchi Madrid; campaigns for Brahma beer with Africa and Adidas with TBWA, both shot in Brazil; and the Security Cameras campaign, which was the first Hispanic commercial to be broadcast at the Super Bowl.

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Fogwill adds: “Jobs these days come from our offices around the world. Landia has offices in Buenos Aires, Sao Paolo, Los Angeles and Madrid, and we recently opened in Mexico DF. Also, through Stink, we work on a lot of European and Asian projects.” Fogwill sees Landia’s USP as being very simple: “We believe in, and have fun, doing what we do. We are a production company that focuses on the vision of its directors, and we think — a lot. One of our characteristics is that we are quite non-conformist, always trying to improve the job by finding new ideas. That is our working philosophy. We search for new ideas and ways of doing things. We believe in doing jobs that have a point of view; that have personality; that have something that makes them special.” He adds: “For some years now, our goal has been to be a global player on the production market and we are working hard to achieve that by developing new directors, new producers and new artists, by generating new connections, by opening ourselves to new working formats, by finding new markets and by going for the creative challenges that make this industry move forward and make our profession sexier.”

THIS year marks the 80th anniversary of AAP (Associacion Argentina de Publicidad) — and it comes just after its member Ogilvy Argentina was named Direct Agency Of The Year at the 2012 Cannes Lions. On top of that, another member — Del Campo Nazca Saatchi & Saatchi — has been voted one of the five most creative agencies in the world by US magazine Ad Age and came second in the international league table of the 2012 Gunn Report. AAP, which is in Cannes this week, currently has 72 agency members, and is organising several events that will take place during the second part of the year to mark September 19 — the date that it was founded in 1933.

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better than London. Brazil’s version of Seventies culture is amazing and unique. And I recently shot in Shanghai for the first time. It has a strange spectral light filtered through pollution, and a mixture of historic and futuristic buildings. It was a great experience. In China, advertising is a really young industry that has a lot of energy, locations that nobody has shot before, and a really rare combination of textures.”

CREATIVITY EVERYWHERE According to Rodrigo Grau (pictured right), executive creative director of BBDO Argentina, some of the credit for the consistently excellent work that the country’s agencies produce, should go to the clients: “They see campaigns for other products that break the mould and

GOT THE LOOKS BUENOS Aires can look like Prague, New York or Madrid, according to Javier Nir, director at Oruga Cine. “Another location of a very different kind is northern Argentina where, within a radius of 200 km, you find epic landscapes, ranging from deserts and mountains to salt lakes,” he says.

THE WORLD BY LOCATION WHAT makes a location special? Director and partner at Landia Andy Fogwill explains: “Prague has a cost-ratio that is unbelievable. Buenos Aires and Montevideo have very high-quality crews and actors. In Cape Town, the grips and landscape are utterly unique. The light in Los Angeles and Barcelona is simply amazing and, for casting, there’s nowhere

they want similarly groundbreaking work, so it’s a kind of virtuous circle,” he says. Fellow executive director Ramiro Rodriguez Cohen adds: “Although we are all proud to be Argentinian and have a sense of collective destiny, we are also fiercely competitive, which again helps to perpetuate the quality of our output. Of course that also means that a lot of top local talent is heading to other countries for a variety of reasons, which can be frustrating, but BBDO was recently included in the Great Place to Work ranking, the very first any Argentine agency has done so.”

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CHILE, ALONGSIDE PERU AND COLOMBIA, IS ON THE WORLD BANK’S GROWING LIST OF DEVELOPED SOUTH AMERICAN COUNTRIES — A STATUS THAT IS REFLECTED IN ITS BUOYANT ECONOMY AND PRODUCTION SERVICES AND ADVERTISING SECTORS THAT ARE HOT RIGHT NOW. GARY SMITH REPORTS

RED-HOT CHILE W

HILE there is no gold rush mentality about Chile, the country’s progress as both a location and a media hub for the Pacific coast is evident. One sign of this is the number of established companies from neighbouring countries that are opening up satellite offices in Chile. A case in point is ArgentinaCine, whose new Chilean operation is run by producer Louis Bronsard. “After years of co-operation between Santiago and Buenos Aires, we decided it was time to get closer and local,” he says. This enables ArgentinaCine to offer clients and agencies “the possibility of

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choosing and enjoying the Chilean option, and taking advantage of great production values, backed by our unique international experience”, Bronsard adds. Location-wise, Chile offers huge diversity, from snow-capped volcanoes on the Pacific coast through the driest desert on earth to Cape Horn, which looks towards Antarctica. “It also has vineyards and rain forests and modern cities just a few kilometres away from Spanish-inspired colonial towns,” Bronsard says. “And all of this with a truly Mediterranean climate all year long — and, of course, 4,000 kilometres of beach. Chile offers excellent shooting conditions with great weather,

experienced, professional and enthusiastic multi-lingual crews, a multi-ethnic cast, some of the best equipment available south of the equator, including Russian Arms, and the best modern highway system in all of South America.” Recent work shot in Chile by ArgentinaCine includes a service job for Vagabond on a Bridgestone shoot with Bang TV UK and JWT Amsterdam. “That was eight days of helicopters, planes, cars and underwater photography in great locations 100 kilometres from the capital, using mountains and beaches, countryside and cities,” Bronsard says. “The flip side of that was a job for an NGO with the Citizen Group from San Francisco based on a documentary featuring exceptional women.” He adds: “The locations here are very special. I particularly love Easter Island for its magic and mystery, the Atacama Desert for the clearest sky on earth and its very cool telescopes, and Tierra del Fuego for its glaciers and its end-of-the-world quality. Last but not least, Santiago de Chile is a modern capital with the best safety record and economic stability in South America.” Service Station is another recent addition to Chile’s audiovisual landscape. The company, run by ex-Moonlighting producers Sylvie Dube and Nicole Perrow, opened for business last July, and clocked up 16 jobs in its first nine months. “It has been non-stop, with the most recent job being four days of filming for Jaguar, with a further three days of photo shoot,” Dube says. “We also recently finished a seven-day shoot for Rexona, which was challenging because we needed a lot of different ethnicities, from Asian through to Middle Eastern and Caucasian. But certainly the most demanding job we’ve had so far was the Citroen shoot with Bandit for the Russian market. Although it was only a four-day job, on two of those days we had three units filming simultaneously, which was a big logistical task.” Among Chile’s most attractive aspects, especially for campaigns involving a lot of talent, are its buy-out rates. “Buy-outs are so much cheaper here than in neighbouring countries — so much so that we had an Australian crew here because of that,” Dube says. “We also had the US company De Mille here shooting in a studio for the same reason. There is a tendency in any country that is experiencing growth in this area to want to ramp up rates, but we’re fighting hard to keep talent and

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CHILE’S HOT, AND COOL TOO: VALLE NEVADO SKI RESORT, JUST UNDER 40KM FROM SANTIAGO INTERNATIONAL AIRPORT

SETTING THE DOUBLE STANDARD THE ATACAMA Desert is nothing if not versatile. According to Joyce Zylberberg, general manager at Film Commission Chile, it has doubled for the surface of the planet Mars as well as for the Middle East in 3,000 BC. Moreover, its pines, rivers, lakes and snowy mountains have frequently stood in for North American and Europe. “Our glaciers and lakes look like Norway or Denmark,” Zylberberg adds. “And a lot of car commercials have been filmed around Santiago, which looks like a typical North American or European modern/classical city.”

WINTER WONDERLAND CHILE is now heading into winter. “So I thought it would be appropriate to remind people about the many snow locations we can offer,” Service Station producer Sylvie Dube says. She adds that many of these locations are very accessible, the majority being between a one-and-a-half- and a three-hour drive from Chile’s capital, Santiago. Joyce Zylberberg, general manager at Film Commission Chile, adds that Chile is hosting a growing number of winter-season apparel and ski clothing commercials, “thanks to the fact that we have opposite seasons to the northern hemisphere”.

EVERY TYPE OF LOCATION JONATHAN Berry, head of research and editing at Tantor Films, shot a TVC for Lipton out of its offices in Satiago. “The Lipton job was an enormous two-day shoot which involved 100,000 gallons of water, 75 choreographed dancers, and five main streets completely closed off for two days, plus three cameras on set,” Berry says. “We put a lot of energy and passion into each project, and we have incredible local knowledge and great access to the best resources and crew throughout Latin America, plus a full-time international team to accommodate our international clients. We also have The Atacama desert, the driest desert in the world, as beautiful as it is unique. From the Salt flats to the bright red canyons that surround it, the Atacama desert is an utterly unique location. Dramatic, vast, and powerful. And then there’s Torres del Paine and Chilean Patagonia; incomparable beauty in lush green landscapes, with towering mountains, and glaciers on the very edge of the landscape. It’s truly majestic.”

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technician rates down, even though there is pressure to raise them.” Another company with a relatively recent Chilean outpost is Goodgate Productions. Executive producer Philip Bolus sees many solid reasons to be operating in the country: “Chile seems to be attracting more and more general interest on the worldwide market as an up-and-coming production hub in the southern hemisphere,” Bolus says. “I have just got back from a two-week trip to LA to sell Chile and everybody is incredibly receptive to the idea — especially as Argentina seems to be in a bit of a decline at the moment. Much of the new work in Chile is coming primarily from the US, as the country is on a pretty similar time zone.” He continues: “One of the most exciting jobs we’ve been involved with recently was with RSA London, which came to Chile to shoot a Jaguar F-Type short film [‘Desire’] with Damian Lewis of Homeland fame in the outrageous locations of the Atacama Desert. The advantages of shooting in Chile over other South American countries are that it has a permanently based Russian Arm and it’s the only country in South America on the ATA Carnet system, which makes it very simple to bring in cars and equipment.” Chile also offers motion-control rigs,

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flexible talent rules and regulations, and a wealth of locations within a two-hour drive from Santiago, including snowfields and ski resorts, the Pacific Ocean, rolling hills, huge sand dunes, vineyards, forests and lakes. And there’s more, Bolus adds: “It’s very easy to recreate America — the homes, streets, suburbs, back yards etc. It has a very temperate climate with very little rain falling in the Santiago area. And Chile also has a functional and proactive film commission that supports the industry, both politically at home and helping to ease permit times. Chile basically has it all.” Joyce Zylberberg, general manager at Film Commission Chile, confirms Bolus’ statement about US shoots in Chile: “Fifty-five per cent of our productions come from the US and 31% from Europe,” she says. “Around 12% of our production comes from Latin America, but very few productions come from Asia due the distances involved. Chile is a country with an abundant assortment of landscapes, friendly people, political and economic stability and superb connectivity. But our main advantage is that, around two hours from Santiago,

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Louis Bronsard. “I love Easter Island for its magic and mystery, the Atacama Desert for the clearest sky on earth and Tierra del Fuego for its end-ofthe-world quality” you can find extreme and extremely different locations, including a modern metropolitan city, American-style suburbs, snow, mountains, a wine valley route and European-looking forest.” Zylberberg continues: “Nowadays, due to its long, unique highways and landscapes, Chile is becoming very popular for car commercials. In the last year, we have had commercials from Skoda, Jaguar, Toyota, Cadillac and many more.” Some of Zylberberg’a favourite shoots include the Jaguar film, and a huge job for Orange: “I love the Jaguar spot because it shows some of the most beautiful Chilean locations, including the Atacama Desert, Santiago city, Torres del Paine, Iquique, Pucon, Valparaiso and the central beach coast. The Orange commercial was shot in 2010 and involved the participation of more than 900 extras — truly a big production

co-ordination challenge.” Two TV productions also stand out: “Profugos is the first Chilean TV series that has been sold to HBO,” Zylberberg says. Produced and written in Chile, the story centres on a failed drug operation that sparks a frenzied pursuit of four men by both the Mafia and the federal authorities. This forces the fugitives to embark on a desperate escape plan, which takes them across Chile by way of the country’s most spectacular locations. The second TV project is No, a Chilean drama directed by Pablo Larrain. The film stars Gael Garcia Bernal playing Rene, an in-demand advertising man working in Chile in the late 1980s. “The moment the film captures is when advertising tactics came to be widely used in political campaigns,” Zylberberg says. “The campaign in question was the historic 1988 vote by Chileans as to whether Augusto Pinochet should have another eight-year term as president.” At this year’s Academy Awards, No was nominated in the Best Foreign Language Film category. The movie, which was entirely shot in Chile, is the first Chilean film to have been nominated for an Oscar.

CHILE, MORE THAN A COUNTRY

A WORLD OF

LOCATIONS

Chilean Advertisement Producers Association www.apcp.cl

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TWENTY YEARS AGO, COLOMBIA WAS UNKNOWN ON THE INTERNATIONAL AWARDS CIRCUIT. TODAY, IT IS SEEN AS AN UP-AND-COMING MARKET FOR CREATIVE EXPORTS, WRITES CRISTINA BUSTAMANTE

COLOMBIA IS ON THE RISE S

IXTEEN Lions at the 2012 Cannes Lions International Festival of Creativity — one Titanium, one Gold, eight Silvers and seven Bronzes — are surely proof that Colombia is an emerging creative market. And last year’s haul is particularly impressive bearing in mind that Colombia only won its first Gold Lion in 2000. Although Colombia’s presence is still modest compared to giants such as the US (5,042 entries and 182 awards in 2012) and Brazil (3,419 entries and 79 awards), its agencies are gradually making their way on the international advertising scene. Evidence of this is the country’s effectiveness on the awards front: its 16 Lions last year were achieved with only 436 entries, which works out at a success rate of 3.5%, up from 1% in 2008. To put this into context, Brazil had a strike rate of 1.5%-2.5% for 20082012, while the US had a rate of 2.5%-4% and is currently standing at 3.5%, just a little below Colombia. Indeed, Colombia is currently second to Argentina (2.5%-6%, currently 4.5%) in the region. This means that not only more entries come from Colombia each year, but also that they are getting better. And with very good reason. In the past decade, Colombia has experienced unprecedented economic growth — its GDP has grown by 171%. In addition, its armed conflict has ceased to be a major cause for concern, opening the way for local companies to grow, multinationals to arrive and the eyes of the world to turn towards the country of Juan Valdez. Naturally, this economic growth has had a positive impact on advertising investment, which grew 23% from 2008 to 2012. President of DDB Latin America, Juan Carlos Ortiz believes Colombia’s growing creative status is the result of the consistent work that its

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various agencies have undertaken since the early Nineties. Ortiz is one of the most respected professionals in his area and the first Latin American to hold the presidency of a US advertising company (Leo Burnett). Among his achievements was Colombia’s first ever Gold Lion, which he won in 2000 for the Caspa anti-drug-abuse campaign. In addition to being inducted into the Advertising Hall of Achievement in the US, the World Economic Forum has named Ortiz as a Global Young Leader for his professional achievements, commitment to society and potential to shape the world’s future. But what is behind the boom in Colombian creativity? Ximena Tapias, executive vice-president of the Colombian Union of Advertising Companies (UCEP), the trade association of creative agencies, thinks the secret lies in how universal an idea can become. “Colombians have the capacity to interpret several languages and cultures,” she says. “They are people who are open to new ideas. They are travelers and rebels; they are competent,

JUAN CARLOS ORTIZ, PRESIDENT OF DDB LATIN AMERICA

restless, cultivated and educated. They have a good sense of humour and know how to overcome difficulties. They have grown up in a country full of contrasts and, for this reason, they do not lose their capacity to surprise themselves and others.” Last year, Philip Thomas, CEO of Lions Festivals, spoke at Colombia’s El Dorado advertising festival. Thomas, highlighting Colombia’s recent creative successes, said: “In 2012, more than in any other year, original ideas came from new an unexpected places — and nowhere have we seen that more clearly than in Colombia.” In this respect, Mauricio Barriga, president of Ogilvy & Mather Colombia, believes that there are cultural factors that contribute significantly to his country’s creativity. “Colombian culture has great values in music, the plastic arts, etc, with interesting and varied customs that stimulate creativity,” he says. Jose Miguel Sokoloff is president of the Lowe Global Creative Council, chairman of Lowe SSP3 Columbia, a member of the Advertising Hall Of Fame, and was recognised in 2012 as one of the most creative people in the world by Business Insider. He stands out for his work with Colombia’s defence ministry focused on easing the armed conflict through advertising and inviting guerrilla fighters

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to hand in their weapons. Sokoloff considers that clients have had an essential role to play in the emergence of Colombian agencies on to the global scene. “Announcers have started to attend the festival, to pay more attention to it and to learn from it. This generates a dynamic that encourages Colombian creatives to be increasingly better, to wish to stand out and not to lose the ground gained by the country up to now.” Colombian creativity has

Ximena Tapias: “Colombians are open to new ideas. They are competent, restless, cultivated and educated”

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evolved with the passing of the years. Although, traditionally, radio was the workhorse of Colombian creative, in the past few years two trends have emerged. The first is that the fight against the armed conflict, which has brought together and moved Colombians, has become a common issue in the campaigns that have been praised globally. A prime Cannes_Newspaper 1-2 example page.pdf is Operacion 5 12/06/13

Rios De Luz (Operation Rivers Of Light) by Lowe SSP3 — a campaign for the defense ministry that was recognised last year with the region’s first Titanium and Integrated Lion. The second trend is that out-of-home actions, such as the above-mentioned campaign, have also gained strength in the country’s campaigns. It should be emphasised that Colombia’s success at the Cannes Lions is not its only international achievement. In 2011, Sancho BBDO and OMD were rated second and third respectively on the Effie Effectiveness Index, which ranks the most effective agencies worldwide. The Colombian industry is united in its willingness to improve its participation in international festivals and to raise its performance to a higher level. Carlos Felipe Arango, president of Sancho BBDO — the agency with the highest billings in Colombia — says that the opening of the market is likely to give a significant boost to the industry. ”Colombia is set to become a hub for multinational companies in the very short term,” he predicts. This year, the country 10:47 AM expects to continue to break its

own awards record while working towards becoming a creative leader in its region. It is a task that will take time, but the conditions now exist for this small giant to roar with increasing force.

DISCOVER EL DORADO EL DORADO, Colombia’s festival of creativity, brings together the country’s best ideas across 13 categories in a competition judged by a panel of international figures. This year the event will take place on September 18-19. The judges will be Toni Segarra (Spain), Celso Loducca (Brazil), Fernando Gutierrez (UK), Alberto Ponte (Argentina) and Lorenzo de Rita (Italy).

COLOMBIAN ADVERTISING BY NUMBERS In US dollars 2008 3,208,231,571 2009 3,126,102,721 2010 3,513,367,008 2011 3,845,352,220 2012 3,938,214,404 Source: Asomedios, Andiarios, IAB

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LAST YEAR’S CASA MEXICO INITIATIVE AND THE RECORD NUMBER OF LIONS WON PUT MEXICO FIRMLY CENTRESTAGE AT THE 2012 CANNES LIONS FESTIVAL. AND, WRITES GARY SMITH, THIS YEAR’S MEXICAN DELEGATION IS ONCE AGAIN HIGH PROFILE

MORE FROM MEXICO T

HERE was no chance of not noticing the action and colour at the Casa Mexico networking space at Croisette 4 in 2012. However, the main reaction of many Mexican advertising people to the success of the inaugural event was one of surprise. “Within the ad industry in Mexico, there were a lot of people who were shocked that we managed to pull it off at all,” says Carlos Barron, president of AMFI (Associacion Mexicana de Filmadoras) and managing director of Segundo Plano. “Having so many different interests in one group of organisers was widely seen as being very difficult, if not impossible. No matter how much unity of vision there was, inevitably there were also a lot of very strong-minded people whose differing opinions had to be taken into account.” Happily for all concerned, unity of purpose triumphed and, consequently, so did the Mexican project. “Around 1,200 people visited Casa Mexico throughout the 2012 Festival — that’s around 150 a day, which was a figure we were delighted with,” Barron says. “We had so many positive reactions to the fact that we had created a relaxed networking space. So of course we have done it again this year in the same location — but bigger and better.” In the run-up to the 2012 Casa Mexico, the project’s organisers spent a great deal of time and effort lobbying Mexican agencies to raise their profile at the Festival by entering work into the

ROGELIO SIKANDER “ THERE IS THIS UNIQUE FLAVOUR THAT YOU CAN SEE IMMEDIATELY WHEN YOU SHOOT IN MEXICO”

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competition. “We are talking about agencies who would not otherwise have done so,” Barron says. “And the amazing thing was that, as a result, Mexico won 18 Lions last year. That was an all-time record — as were the close to 500 entries from Mexican agencies.” He adds that, this year, Mexico has entered 600 campaigns: “So we feel like the message has really been understood by the agencies. Now we have to do the same with our producers...” This year, Mexico is one of the sponsors of the World Producers Summit (WPS) and the Young Director Award (YDA). Cannes Lions 2013 also sees the launch of a new association called the

CARLOS BARRON: “YES, WE HAVE SUN AND BEACHES, BUT IT’S TIME TO LAY ALL THE OLD CLICHES ABOUT MEXICO TO REST”

THE MAESTROS’ GLADIATOR CAMPAIGN

Pan-Latin Association of Advertising Production companies. “The Association comes as a direct result of last year’s Casa Mexico,” Barron says. “The fact that there were so many of us there created the opportunity to discuss some very important things. This is a very exciting time in Mexico. We are seeing more and more big international campaigns being shot here, such as Coca-Cola and PlayStation, plus

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Eurocopter just opened the world’s largest helicopter factory in the country. Yes, we have sun and beaches, but this is a country of 120 million people, and it’s time to lay all the old cliches about Mexico to rest.” Rogelio Sikander, director at The Maestros, confirms Barron’s statement that big brands are increasingly coming to shoot in Mexico. “Among the shoots we have enjoyed recently is the work we did for Coca-Cola’s energy drink Gladiator,” he says. “We teamed up with Hernan Ibarra and Walter Aregger [the DDB creatives responsible for the notorious Axe Chocolate Man campaign] to create several spots for the brand, and every shoot has been a lot of fun. Not only have the results been great each time, but the whole process has been very rewarding in terms of creative collaboration with the agency and client.” Much of The Maestros’ new work consists of web content. “We are being asked to create the sort of interactive videos that we never previously used to get asked to do,” Sikander says. “The latest project was a spot for Volkswagen’s Touareg SUV. The type of programming that we had to do for the micro site was kind of complex and we had to spend a lot of time experimenting with how we shot the spot to get it to work in the way we all wanted.” Mexico has a strong and striking visual identity that makes its creativity stand out in unexpected ways. “You see it in both the big cities as well as in the countryside,” Sikander says. “There is just this unique flavour that you can see immediately when you shoot here. It’s in everything from the type of light you get through to the collage of architectural styles that define the look of our cities.”

WHAT MEXICO CAN DO FOR YOU MEXICO has several incentives in place for producers, including 0% VAT for foreign productions destined to be exported and projected in movie theatres or on television. Qualifying productions can apply for a VAT refund on all goods and services, including wardrobe, make-up, location fees, props, set decoration, crew and equipment transportation to/from the location, accommodation, film equipment, catering and animal rental. The above goods and services are considered for export when provided by Mexican residents to non-Mexican residents living abroad.

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Film commissions around the world are becoming increasingly involved in commercials shoots, a fact confirmed by the growing number of commissions attending the Festival. Debbie Lincoln reports

Brand aid P

LACING an iconic location at the centre of campaign can create a powerful impact, whether it’s the Eiffel Tower in Paris or the rolling waves of Hawaii for perfume, or even Tennesse for Jack Daniels whisky. The latest in Chanel’s series of Metier d’Arts annual fashion shows, filmed in Scotland, is a perfect example of this. Coco Chanel spent several summers at the country estate of the Duke of Westminster in the Highlands of Scotland during the 1920s and 1930s and gained inspiration there for her avant-garde masculine take on women’s clothing, particularly local tweeds and knitwear. Creative director of Chanel, Karl Lagerfeld, has presented the annual Metier d’Arts show in Saint Tropez, Shanghai and Versailles in previous years — but for the 2012 show he chose to honour the brand’s connections with Scotland. It was staged some 15 miles west of Edinburgh in Linlithgow Palace, the birthplace of Mary Queen of Scots. As a location with atmosphere it was hard to beat, guests were welcomed into the castle courtyard with champagne, or whisky and ginger, to fend off the temperatures of a snowy night. Fire baskets roared around a fountain which local legend suggests flowed with wine to honour Bonnie Prince Charlie’s visit in 1745. The show also celebrated a direct economic link between the brand and Scotland in that Chanel had recently acquired Barrie Knitwear, a firm that has manufactured cashmere knits for the brand for over 25 years. The deal saved 176 jobs in the mill in Hawick and secured quality control for the brand. Paris production house Walter Films called on Edinburgh-based Filming Scotland to shoot the shows. “They approached us about the live event at the beginning of October, for filming on December 4. A few days later they approached us about helping with the production of a short film about the Barrie Cashmere factory. It

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was two separate jobs with six films in total. We also set up 10 mobile edit suites so that we could have the final edit on YouTube eight hours after wrap,” Dave Neilson, managing director and executive producer at Filming Scotland, says. Chanel used the films on its YouTube channel and website, and the Barrie Knitwear film, which shows the meticulous construction of a Chanel cardigan, is currently used internally by Chanel. Neilson says: “We had four separate units on the night. The larger 16-camera unit for the fashion show as well as two smaller units that shot interviews, moments behind-thescenes, and the after-show party. On top of this another unit shot back at the hotel where the models were being prepped for their clothes.” Such a long-term effort by one of the largest fashion brands in the world came with a giant price tag. “At a production meeting where we were discussing the fact that the set-up started a year prior and the physical set-up of the venue took about two months, at a total cost of about £2m, our location manger turned around to ask how long the show was. When he got the answer — ‘20 minutes’ — I have never seen a jaw drop to the ground so dramatically,” Nielson says. “Asking sparks and grips to dress accordingly for a fashion show was also quite comical.” However the result puts Linlithgow Palace front and centre of the brand’s global exposure, and more importantly, gave Chanel a perfect location that tied-in to the season’s couture range, the history of the brand’s links with Scotland, and even the economic investment in the future of its production facilities on the Scottish borders. This represents a trend for Scotland, according to Brodie Pringle, locations department manager at Creative Scotland, the national development agency for the arts, screen and creative industries.

“Fashion shoots are becoming more and more popular and our historic locations come into play with those quite regularly,” she says. Film commissions are best-known for servicing feature films, documentaries and TV shoots, however commercials have always been part of the mix, and in many areas this proportion is increasing and consequently film commissions are recognising that though ad shoots are short, they can bring repeat business, and are worth pursuing. Commercials producers are also increasingly realising just how useful these offices can be to them, often saving time and money for the production — and at no cost. The time-consuming task of sourcing locations for commercials can be speeded up by the intervention of film commissions. At the very least they can now usually supply a digital library that can be tailored to specific requirements. On top of that they can also be a source of local expertise. “We can provide contacts for local crew and facilities, negating the need for incoming production companies to bring these resources with them, saving a chunk of the budget to spend on screen. This is where we can save companies substantial sums,” Pringle says, adding: “Once a company has filmed once using local crew, they always come back. Scottish crews are exceptionally enthusiastic and can-do. Likewise, post production and broadcast kit providers.” The fact that film commissions are becoming more proactive is reflected in several ways, one being the increasing appearance of film commissions at the Cannes Lions International Festival Of Creativity. This year countries represented include Puerto Rico, Germany and Italy. Other commissions like potential clients to come to them. “We’ve invited producers and location managers on fam [familiarisation] trips to show them what Tenerife has to offer,” Tenerife Film Commission’s Ana Lima says. The Italian Riviera-Alpi Del Mare Film Commission has taken a novel approach and has produced a highquality coffee-table-style book of images to distribute within the industry and at various markets, and has created a database of local topics including nature, lifestyle, fashion, travel, history and even ghosts and legends. “We are presenting a new book at Cannes Lions which contains all of this research alongside great locations, stories, local people and

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the 2012 chanel metier d’arts FASHION SHOW FILMED IN LINLITHGOW PALACE, SCOTLAND

products, food, and wine. A digital version will be online soon, but we liked the idea of a really elegant book as a souvenir of the Lion’s 60th edition,“ film commissioner Alessandra Bergero says. Other regions use advertising and what Nevada Film’s Charlie Geocaris calls “target marketing”, and many offer tax credits. Abu Dhabi has gone one step further: “In 2012, ADFC [Abu Dhabi Film Commission] launched an incentive scheme to attract international and regional producers to procure key industry infrastructure at highly competitive rates. The incentive comes in the form of a 30% rebate on all qualifying spend in the Emirate, including international

Brodie Pringle “We can save companies substantial sums”

below-the-line crew. The rebate is available for feature films, TV, documentary, commercials, and music videos,” Michael Flannigan, head of Abu Dhabi Film Commission, says. “The incentive scheme also includes post-production, digital content services and visual effects (PDV).” Abu Dhabi can double for many Middle Eastern and Asian cities while promising an “efficient and safe

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shooting environment”. As well as cities, locations include coastal regions, deserts, mountains and suburban areas. The Commission can help with the sourcing of local crew and permits, and production services, stages and post-production are available through twofour54 intaj, part of Twofour54, the Abu Dhabi media hub whose mission is to develop local talent in all areas of the media. The first commercial shoot that used the services of the Commission and twofour54 itaj, and to take advantage of the incentive, was the ‘Arabesque’ TVC for Kleenex for the Saudi Arabian market, with creative agency Memac Ogilvy, Lebanese production company Joy Films Middle East, and directed by Alain Gourrier in February this year. Other commercials shot last year in the Emirate include DHL, Porche, McLaren, Panasonic, Nissan, Puma, Range Rover and Volvo. The tax credit system available in

Puerto Rico is central to its ability to attract commercial producers, according to Puerto Rico Film Commission’s (PRFC) Manuel Paniagua. The PRFC will send out photo packages to potential visiting producers, and when they visit the island they will then be given a location scout to help find the right places to film. “Meanwhile, we facilitate them with orientations with regards to production resources, assistance with permitting, and co-ordination with all state and local agencies,” Paniagua says, citing a recent TV spot for Wendy’s, aimed at the Hispanic market, where the PRFC helped with contacts for production services and a location script breakdown. He adds: “We make great efforts to attract this type of production. During this administration we will be more aggressive in reaching the commercials industry. This year is the first time that the Puerto Rico Film Commission has attended Cannes Lions.”

LIAISON DES LIONS IN COMMON with an increasing number of film commissions and offices from around the world, a delegation of nine regional companies is at Cannes Lions this week under the name Liaison des Lions, which represents both the Festival and the heraldic lion of BadenWurttemberg in the German southwest, to promote their locations and services. “This delegation is aimed at improving the marketing of the region, internationalising supplier and customer relations and transferring knowledge about latest trends to the German southwest,” Dieter Krauss, board member at the MFG Film Fund, says. “At a reception at the American Film Market in LA, the MFG Film Fund demonstrated how successful BadenWurttemberg is when it comes to animation and VFX. And here in Cannes we would like to replicate that success, and prove that we also have a lot to offer in the extended moving images field.“ The nine companies, which include AV Medien, BPPA Bessis Pink Pony, Cosmoto and Emenes, also take part in the 120 Minute Party on Long Beach on June 21. The venture is supported by the internationalisation programme of Baden-Wurttemberg International, and co-financed by the MFG Film Fund, the Creative Industries Network Baden-Wurttemberg, and the Film Commission Stuttgart Region.

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The Italian Riviera-Alpi Del Mare Film Commission’s Alessandra Bergero cites the Capo Noli stretch of coastline road as a favourite for car spots

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Chile is another country that offers a tax reimbursement, currently 19%, that the Chile Film Commission’s Joyce Zylberberg Serman says “works very well”, though she adds: “Our most valuable tool is the high level of our services companies, that are gaining prestige all over and guarantee a very professional service.” In the last year

Manuel Paniagua, Puerto Rico Film Commission “We will be more aggressive in reaching the commercials industry” 114 international commercials were filmed in Chile out of an estimated total of 143, up 15% on the previous year, and included: Jaguar F-Type, for Spark 44 and Tag Worldwide, with production company La Casa Films; Skoda for B Film Germany with La Casa Films; and Garnier for Fred & Farrid with Less Telecreatures and La Casa Films. In the German southwestern state of Baden Württemberg, Kathrin Stark from the film commission says that the region is home to a large number of agencies and productions companies and one reason is the presence in the state of a number of huge brands including Porsche, Mercedes Benz and Hugo Boss. “Beyond that the German Film Commission offers free customer services and Baden Württemberg has evolved cluster initiatives such as the Animation Media Cluster Region Stuttgart (AMCRS), with the mission to raise the regional animation / VFX industry to a new level,” Stark says. A group of interested companies and film offices from the region is in Cannes to promote the area. Stuttgart-based

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production company emenes, part of the delegation, produced a film for Baden-Württemberg earlier this year, which was shown in cinemas all over Germany. Marko Zawadzki, emenes managing partner says: “We profit from good weather conditions, a tremendous range of fresh, exciting shooting locations and open-minded people in one of the world’s biggest industrial regions situated in a scenic landscape.” The most photogenic geography of a region is high on the list of a film comission’s assets. Creative Scotland’s Pringle recognises her region’s popularity for car spots. “We have controllable highways that run through the most extraordinary vistas, from coastline to mountains, as well as some very exciting urban locations.” she says. The same is true of Nevada where instead of the verdant mountains of Scotland there are dry-lake beds, the Valley of Fire, Red Rock Canyon, Lake Tahoe and Lamoille Canyon. “We see a variety of commercials, but automobile and truck commercials are the most

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popular,” Geocaris says. Recently the Nevada Film Office assisted with location scouting and permits for a Toyota TVC. A location that is growing in popularity with automotive brands is Chile. “Nowadays, thanks to its long and unique highways and landscapes, Chile is becoming very popular for car commercials. We have had commercials from Skoda, Jaguar, Toyota, Cadillac, among many others,” Zylberberg Serman says. “Our main advantage is that around two hours from Santiago, you can find extreme locations: a very metropolitan city that also has a European-looking district, American style suburbs, snow, mountains, a wine valley and European-looking forest,” she says. The same goes for the 2,000-sq km island of Tenerife: “It can double for almost anywhere,” Lima says. “The variety of locations is just amazing, from deserts to rainforest-like woods, beaches — including black-sand beaches — colonial architecture, modern buildings, winding roads,

Oulu, in the region of the North Finland Film Commission, was the location for a seasonal Pepsi shoot, serviced by Finland’s Woodpecker Film

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mountains and volcanoes. And you can find anything you need on the island: good film professionals, lighting and grip equipment, and all kind of services: banks, shops and excellent accommodation. Plus the island is a very safe place and well connected to Europe: just a four-hour flight from the major cities.” She adds: “The island is a favourite for car commercials as there are roads running through spectacular locations.” Climate works in favour of regions such as Tenerife, Italian-Riviera and Puerto Rico, where project co-ordinator Paniagua suggests that, although tax credits were on offer, the main reason for Samsung and Sony Bravia filming their ads in the archipelago was the need for a

Manuel Paniagua, Puerto Rico Film Commission “We will be more aggressive in reaching the commercials industry”

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IMAGINE THIS IS YOUR WHOLE PRODUCTION

IMAGINE THIS IS OUR INCENTIVE

Visit the Puerto Rico Film Commission Cabana #14 and find out how to get a 40% tax incentive when you film in Puerto Rico. Don’t forget to ask for the 40% of your drink.

Puerto Rican rum bottle samples available while they last.

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puertoricofilm.com 1.787.754.6444

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feature

friday/june 21/2013

deserted beach. In a recent spot filmed on a Tenerife beach, for car insurance Link4, from agency Brasil and serviced by Volcano Films, the film commission became more involved than they expected when an office location was called for, as well as the beach: they handed over their own offices for the shoot. At the other end of the temperature gauge, Lapland, north Finland and East Finland are sought-after filming locations because of guaranteed snow and ice conditions during winter

months. “Usually productions go to Lapland looking for scenic panoramas, snowy forests, lakes and rivers. East Finland and North Finland have a lot of forest areas and river,” Finland Film Commission’s Tiina Laasonen says. “Finland is a unique combination of wilderness and infrastructure. You think you’re going to land in the middle of wilderness but actually you find yourself in a great environment to shoot with a variety of accommodation possibilities and services to choose from.”

ABU DHABI TO BEIRUT JAGUAR Land Rover Middle East & North Africa is one of the backers of a new road movie A To B, the ‘A’ for Abu Dhabi, and the ‘B’ for Beirut. Directed by Emirati filmmaker Ali F Mostafa, the characters who make the trip in memory of a late friend, are US-educated young Arab men — one Egyptian, one Syrian and one Saudi — who have grown up in Abu Dhabi. The road trip’s fourth character is a Range Rover Evoque. The company’s managing director Robin Colgan says: “There are not that many cultural access points like that in the region, that are pan-regional and profiling a younger audience in this way.” He added: “We have worked with Ali before on a mini-series that we produced and that worked great for us. Not many opportunities like this come along.” The film is 60% English-language — primarily between the three protagonists — while conversations with locals they meet are in Arabic. “I think it’s an unusual concept. It’s a very westernised film, very contemporary,” Mostafa says. Abu Dhabi media hub Twofour54 is also backing the film along with a number of private investors. Wayne Borg, Twofour54 president, international, said the film “fits perfectly” with the company’s mandate. “Our role is to support the development of creative talent from the region. And people of Ali’s pedigree are the type we want to foster and develop.”

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A promo film for the German state of Baden Württemberg, produced by Stuttgart-based production company emenes, was filmed in a family home in Ludwigsburg, about 20 km from Stuttgart

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A recent spot, serviced by Finland’s Grilli Films for Russian mobile operator and mobile TV provider MTS, was filmed in Pyhatunturi in Lapland. The crew was based in the local ski resort and filmed in the surrounding hills and the location manager worked closely with the film commission to finalise the locations. Working in such conditions requires some expertise. “Despite the cold — minus 27º Celcius — all went smoothly. The Finnish crew is used to working in low temperatures, and they have the knowledge how to deal with the equipment in cold conditions,” Grilli Films’ managing director and executive producer, Hanna Mutanen, says. The company even managed to do some last-minute casting. “The story [of the ad] is about a woodsman coming from the woods to his log cabin, in the middle of snowy ‘nowhere’. When he enters there is a bear sitting in his cabin, eating and watching TV. We had a bearskin, that was quite small. The bear had to act, and we had to find a person for inside the bear skin. We managed to cast a local girl who was just the right size to fit the skin. She was incredibly patient, and she acted very well. We were lucky, and it was an experience for her — something else than her everyday job at a restaurant,” she says.

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FRIDAY/JUNE 21/2013

Film Lions - Screening Schedule THIS SCHEDULE IS SUBJECT TO CHANGE. FRIDAY 21 Debussy FILM LIONS SHORTLIST A01 Savoury Foods A02 Sweet Foods & Snacks A03 Alcoholic Drinks A04 Non-Alcoholic Drinks A05 Household: Cleaning Products A06 Household: Other A07 Home Appliances & Furnishings A08 Cosmetics & Beauty A09 Toiletries A10 Pharmacy A11 Clothing, Footwear & Accessories A12 Miscellaneous A13 Cars A14 Other Vehicles, Auto Products & Services A15 Home Electronics & Audio-Visual A16 Retail Stores A18 Travel, Transport & Tourism A19 Entertainment & Leisure A20 Publications & Media A21 Banking, Investment & Insurance A22 Business Equipment & Services A23 Commercial Public Services A24 Corporate Image A26 Public Health & Safety A27 Public Awareness Messages A28 Fundraising & Appeals A01 Savoury Foods A02 Sweet Foods & Snacks A03 Alcoholic Drinks A04 Non-Alcoholic Drinks A05 Household: Cleaning Products A06 Household: Other A07 Home Appliances & Furnishings A08 Cosmetics & Beauty A09 Toiletries A10 Pharmacy A11 Clothing, Footwear & Accessories A12 Miscellaneous A13 Cars A14 Other Vehicles, Auto Products & Services A15 Home Electronics & Audio-Visual A16 Retail Stores A18 Travel, Transport & Tourism A19 Entertainment & Leisure A20 Publications & Media A21 Banking, Investment & Insurance A22 Business Equipment & Services A23 Commercial Public Services A24 Corporate Image A26 Public Health & Safety A27 Public Awareness Messages A28 Fundraising & Appeals A01 Savoury Foods A02 Sweet Foods & Snacks A03 Alcoholic Drinks A04 Non-Alcoholic Drinks Household: Other A05 Household: Cleaning Products A06 Household: Other A07 Home Appliances & Furnishings A08 Cosmetics & Beauty A09 Toiletries A10 Pharmacy A11 Clothing, Footwear & Accessories A12 Miscellaneous A13 Cars A14 Other Vehicles, Auto Products & Services A15 Home Electronics & Audio-Visual A16 Retail Stores A18 Travel, Transport & Tourism A19 Entertainment & Leisure A20 Publications & Media A21 Banking, Investment & Insurance A22 Business Equipment & Services A23 Commercial Public Services

09:00 - 20:00 09:00 - 09:20 09:20 - 09:30 09:30 - 09:40 09:40 - 09:45 09:45 - 09:50 09:50 - 10:00 10:00 - 10:05 10:05 - 10:10 10:10 - 10:35 10:35 - 10:40 10:40 - 10:45 10:45 - 11:00 11:00 - 11:05 11:05 - 11:20 11:20 - 11:35 11:35 - 11:50 11:50 - 12:00 12:00 - 12:10 12:10 - 12:30 12:30 - 12:35 12:35 - 12:40 12:40 - 12:55 12:55 - 13:15 13:15 - 13:20 13:20 - 13:35 13:35 - 13:40 13:40 - 13:45 13:45 - 13:50 13:50 - 13:55 13:55 - 14:00 14:00 - 14:05 14:05 - 14:30 14:30 - 14:40 14:40 - 14:55 14:55 - 15:00 15:00 - 15:10 15:10 - 15:30 15:30 - 15:45 15:45 - 15:50 15:50 - 16:05 16:05 - 16:25 16:25 - 16:30 16:30 - 16:35 16:35 - 16:50 16:50 - 17:10 17:10 - 17:15 17:15 - 17:25 17:25 - 17:35 17:35 - 17:40 17:40 - 17:45 17:45 - 17:50 17:50 - 17:55 17:55 - 18:20 18:20 - 18:25 18:25 - 18:30 18:30 - 18:50 18:50 - 19:05 19:05 - 19:25 19:25 - 19:40 19:40 - 19:45 19:45 - 20:00

Redac 1 FILM LIONS SHORTLIST A15 Home Electronics & Audio-Visual A16 Retail Stores A18 Travel, Transport & Tourism A19 Entertainment & Leisure A20 Publications & Media A21 Banking, Investment & Insurance A22 Business Equipment & Services A23 Commercial Public Services A24 Corporate Image A26 Public Health & Safety A27 Public Awareness Messages A28 Fundraising & Appeals A01 Savoury Foods A02 Sweet Foods & Snacks A03 Alcoholic Drinks A04 Non-Alcoholic Drinks A05 Household: Cleaning Products A06 Household: Other A07 Home Appliances & Furnishings A08 Cosmetics & Beauty A09 Toiletries A10 Pharmacy A11 Clothing, Footwear & Accessories" A12 Miscellaneous A13 Cars A14 Other Vehicles, Auto Products & Services A15 Home Electronics & Audio-Visual A16 Retail Stores A18 Travel, Transport & Tourism A19 Entertainment & Leisure A20 Publications & Media A21 Banking, Investment & Insurance A22 Business Equipment & Services A23 Commercial Public Services A24 Corporate Image A26 Public Health & Safety A27 Public Awareness Messages A28 Fundraising & Appeals A01 Savoury Foods A02 Sweet Foods & Snacks A03 Alcoholic Drinks A04 Non-Alcoholic Drinks Household: Other A05 Household: Cleaning Products A06 Household: Other A07 Home Appliances & Furnishings A08 Cosmetics & Beauty A09 Toiletries A10 Pharmacy A11 Clothing, Footwear & Accessories A12 Miscellaneous A13 Cars A14 Other Vehicles, Auto Products & Services A15 Home Electronics & Audio-Visual A16 Retail Stores A18 Travel, Transport & Tourism A19 Entertainment & Leisure A20 Publications & Media A21 Banking, Investment & Insurance A22 Business Equipment & Services A23 Commercial Public Services A24 Corporate Image A26 Public Health & Safety A27 Public Awareness Messages A28 Fundraising & Appeals A01 Savoury Foods A02 Sweet Foods & Snacks A03 Alcoholic Drinks A04 Non-Alcoholic Drinks A05 Household: Cleaning Products A06 Household: Other A07 Home Appliances & Furnishings

09:00 - 20:00 09:00 - 09:10 09:10 - 09:25 09:25 - 09:30 09:30 - 09:40 09:40 - 10:00 10:00 - 10:15 10:15 - 10:20 10:20 - 10:35 10:35 - 10:55 10:55 - 11:00 11:00 - 11:05 11:05 - 11:20 11:20 - 11:40 11:40 - 11:45 11:45 - 12:00 12:00 - 12:05 12:05 - 12:10 12:10 - 12:15 12:15 - 12:20 12:20 - 12:25 12:25 - 12:30 12:30 - 12:50 12:50 - 12:55 12:55 - 13:00 13:00 - 13:20 13:20 - 13:25 13:25 - 13:35 13:35 - 13:55 13:55 - 14:10 14:10 - 14:15 14:15 - 14:30 14:30 - 14:45 14:45 - 14:55 14:55 - 15:00 15:00 - 15:15 15:15 - 15:35 15:35 - 15:40 15:40 - 15:50 15:50 - 16:00 16:00 - 16:05 16:05 - 16:10 16:10 - 16:15 16:15 - 16:20 16:20 - 16:45 16:45 - 16:50 16:50 - 16:55 16:55 - 17:10 17:10 - 17:15 17:15 - 17:30 17:30 - 17:50 17:50 - 18:00 18:00 - 18:10 18:10 - 18:25 18:25 - 18:40 18:40 - 18:45 18:45 - 18:55 18:55 - 19:10 19:10 - 19:30 19:30 - 19:35 19:35 - 19:45 19:45 - 19:55 19:55 - 20:00

Audi J FILM LIONS SHORTLIST A20 Publications & Media A21 Banking, Investment & Insurance A22 Business Equipment & Services A23 Commercial Public Services A24 Corporate Image A26 Public Health & Safety A27 Public Awareness Messages A28 Fundraising & Appeals A01 Savoury Foods A02 Sweet Foods & Snacks A03 Alcoholic Drinks A04 Non-Alcoholic Drinks A05 Household: Cleaning Products A06 Household: Other A07 Home Appliances & Furnishings A08 Cosmetics & Beauty A09 Toiletries A10 Pharmacy A11 Clothing, Footwear & Accessories A12 Miscellaneous A13 Cars A14 Other Vehicles, Auto Products & Services A15 Home Electronics & Audio-Visual A16 Retail Stores A18 Travel, Transport & Tourism A19 Entertainment & Leisure A20 Publications & Media A21 Banking, Investment & Insurance A22 Business Equipment & Services A23 Commercial Public Services A24 Corporate Image A26 Public Health & Safety A27 Public Awareness Messages A28 Fundraising & Appeals A01 Savoury Foods A02 Sweet Foods & Snacks A03 Alcoholic Drinks A04 Non-Alcoholic Drinks Household: Other A05 Household: Cleaning Products A06 Household: Other A07 Home Appliances & Furnishings A08 Cosmetics & Beauty A09 Toiletries A10 Pharmacy A11 Clothing, Footwear & Accessories A12 Miscellaneous A13 Cars A14 Other Vehicles, Auto Products & Services A15 Home Electronics & Audio-Visual A16 Retail Stores A18 Travel, Transport & Tourism A19 Entertainment & Leisure A20 Publications & Media A21 Banking, Investment & Insurance A22 Business Equipment & Services A23 Commercial Public Services A24 Corporate Image A26 Public Health & Safety A27 Public Awareness Messages A28 Fundraising & Appeals A01 Savoury Foods A02 Sweet Foods & Snacks A03 Alcoholic Drinks A04 Non-Alcoholic Drinks A05 Household: Cleaning Products A06 Household: Other A07 Home Appliances & Furnishings A08 Cosmetics & Beauty A09 Toiletries A10 Pharmacy A11 Clothing, Footwear & Accessories A12 Miscellaneous A13 Cars

09:00 - 20:00 09:00 - 09:20 09:20 - 09:35 09:35 - 09:40 09:40 - 09:55 09:55 - 10:15 10:15 - 10:20 10:20 - 10:25 10:25 - 10:40 10:40 - 11:00 11:00 - 11:05 11:05 - 11:20 11:20 - 11:25 11:25 - 11:30 11:30 - 11:35 11:35 - 11:40 11:40 - 11:45 11:45 - 11:50 11:50 - 12:10 12:10 - 12:15 12:15 - 12:20 12:20 - 12:40 12:40 - 12:45 12:45 - 12:55 12:55 - 13:15 13:15 - 13:30 13:30 - 13:35 13:35 - 13:50 13:50 - 14:05 14:05 - 14:15 14:15 - 14:20 14:20 - 14:35 14:35 - 14:55 14:55 - 15:00 15:00 - 15:10 15:10 - 15:20 15:20 - 15:25 15:25 - 15:30 15:30 - 15:35 15:35 - 15:40 15:40 - 16:05 16:05 - 16:10 16:10 - 16:15 16:15 - 16:30 16:30 - 16:35 16:35 - 16:50 16:50 - 17:10 17:10 - 17:20 17:20 - 17:30 17:30 - 17:45 17:45 - 18:00 18:00 - 18:05 18:05 - 18:15 18:15 - 18:30 18:30 - 18:50 18:50 - 18:55 18:55 - 19:05 19:05 - 19:15 19:15 - 19:20 19:20 - 19:25 19:25 - 19:30 19:30 - 19:35 19:35 - 20:00

*Entries from the ‘B. Internet Film’ and ‘C. Other Film Content’ sections will be available throughout the Festival in the Screening Lounge on Level -1

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FRIDAY/JUNE 21/2013

SATURDAY 22 Redac 1 FILM LIONS SHORTLIST A01 Savoury Foods A02 Sweet Foods & Snacks A03 Alcoholic Drinks A04 Non-Alcoholic Drinks A05 Household: Cleaning Products A06 Household: Other A07 Home Appliances & Furnishings A08 Cosmetics & Beauty A09 Toiletries A10 Pharmacy A11 Clothing, Footwear & Accessories A12 Miscellaneous A13 Cars A14 Other Vehicles, Auto Products & Services A15 Home Electronics & Audio-Visual A16 Retail Stores A18 Travel, Transport & Tourism A19 Entertainment & Leisure A20 Publications & Media A21 Banking, Investment & Insurance A22 Business Equipment & Services A23 Commercial Public Services A24 Corporate Image A26 Public Health & Safety A27 Public Awareness Messages A28 Fundraising & Appeals A01 Savoury Foods A02 Sweet Foods & Snacks A03 Alcoholic Drinks A04 Non-Alcoholic Drinks A05 Household: Cleaning Products A06 Household: Other A07 Home Appliances & Furnishings A08 Cosmetics & Beauty A09 Toiletries A10 Pharmacy A11 Clothing, Footwear & Accessories A12 Miscellaneous A13 Cars A14 Other Vehicles, Auto Products & Services A15 Home Electronics & Audio-Visual A16 Retail Stores A18 Travel, Transport & Tourism A19 Entertainment & Leisure A20 Publications & Media A21 Banking, Investment & Insurance A22 Business Equipment & Services A23 Commercial Public Services

D6-TimeTable.indd 71

09:00 - 16:00 09:00 - 09:20 09:20 - 09:30 09:30 - 09:40 09:40 - 09:45 09:45 - 09:50 09:50 - 10:00 10:00 - 10:05 10:05 - 10:10 10:10 - 10:35 10:35 - 10:40 10:40 - 10:45 10:45 - 11:00 11:00 - 11:05 11:05 - 11:20 11:20 - 11:35 11:35 - 11:50 11:50 - 12:00 12:00 - 12:10 12:10 - 12:30 12:30 - 12:35 12:35 - 12:40 12:40 - 12:55 12:15 - 13:15 13:15 - 13:20 13:20 - 13:35 13:35 - 13:40 13:40 - 13:45 13:45 - 13:50 13:50 - 13:55 13:55 - 14:00 14:00 - 14:05 14:05 - 14:30 14:30 - 14:40 14:40 - 14:55 14:55 - 15:00 15:00 - 15:10 15:10 - 15:30 15:30 - 15:45 15:45 - 15:50 15:50 - 16:05

Audi J FILM LIONS SHORTLIST A15 Home Electronics & Audio-Visual A16 Retail Stores A18 Travel, Transport & Tourism A19 Entertainment & Leisure A20 Publications & Media A21 Banking, Investment & Insurance A22 Business Equipment & Services A23 Commercial Public Services A24 Corporate Image A26 Public Health & Safety A27 Public Awareness Messages A28 Fundraising & Appeals A01 Savoury Foods A02 Sweet Foods & Snacks A03 Alcoholic Drinks A04 Non-Alcoholic Drinks A05 Household: Cleaning Products A06 Household: Other A07 Home Appliances & Furnishings A08 Cosmetics & Beauty A09 Toiletries A10 Pharmacy A11 Clothing, Footwear & Accessories A12 Miscellaneous A13 Cars A14 Other Vehicles, Auto Products & Services A15 Home Electronics & Audio-Visual A16 Retail Stores A18 Travel, Transport & Tourism A19 Entertainment & Leisure A20 Publications & Media A21 Banking, Investment & Insurance A22 Business Equipment & Services A23 Commercial Public Services A24 Corporate Image A26 Public Health & Safety A27 Public Awareness Messages A28 Fundraising & Appeals A01 Savoury Foods A02 Sweet Foods & Snacks A03 Alcoholic Drinks A04 Non-Alcoholic Drinks Household: Other A05 Household: Cleaning Products A06 Household: Other

09:00 - 16:00 09:00 - 09:10 09:10 - 09:25 09:25 - 09:30 09:30 - 09:40 09:40 - 10:00 10:00 - 10:15 10:15 - 10:20 10:20 - 10:35 10:35 - 10:55 10:55 - 11:00 11:00 - 11:05 11:05 - 11:20 11:20 - 11:40 11:40 - 11:45 11:45 - 12:00 12:00 - 12:05 12:05 - 12:10 12:10 - 12:15 12:15 - 12:20 12:20 - 12:25 12:25 - 12:30 12:30 - 12:50 12:50 - 12:55 12:55 - 13:00 13:00 - 13:20 13:20 - 13:25 13:25 - 13:35 13:35 - 13:55 13:55 - 14:10 14:10 - 14:15 14:15 - 14:30 14:30 - 14:45 14:45 - 14:55 14:55 - 15:00 15:00 - 15:15 15:15 - 15:35 15:35 - 15:40 15:40 - 15:50 15:50 - 16:00

20/06/13 21:05


PALAIS MAP

LEVEL - 1

LEVEL 5

LIVE SEMINAR STREAMING ROOM

LEVEL 4

PRESS CENTRE THE WORK: AUDI J - FILM LIONS SCREENINGS (TUESDAY TO SATURDAY) THE WORK: AUDI K - TITANIUM AND INTEGRATED, BRANDED CONTENT & ENTERTAINMENT LIONS SCREENINGS

LEVEL 3

THE FORUM - AUDI A CANNES CONNECT BAR: RIVIERA ROOF GARDENS CANNES LIONS 60TH EXHIBITION THE WORK: FILM CRAFT LIONS SCREENINGS-AUDI B THE WORK: FILM LIONS - SALLE DE REDACTION 1

LEVEL 1

MAIN ENTRANCE

4

PALAIS DES FESTIVALS

1 MMA BIG TOP 2 AKQA 3 CANNESALSO

3

SEMINARS: DEBUSSY & GRAND AUDI MICROSOFT DIGITAL LOUNGE MOFILM GETTY IMAGES

4 HYUNDAI/INNOCEAN 2

LEVEL 0

MAIN ENTRANCE CANNES LIONS ARCHIVE LAB GAME CHANGERS EXHIBITION SPEAKERS LOUNGE

5

SPEAKERS LOUNGE SPONSORED BY THE GUARDIAN

5 SOURCEECREATIVE

SHORTLIST EXHIBITIONS

1

REGISTRATION

CABANAS

ACADEMY ZONE

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EUROSPORT BEACH SOCCER

CANNES LIONS MMA ADPARLOR MEC ACE METRIX APPNEXUS TURN WUNDERMAN

INFORMATION DESK YOUNG LIONS ZONE WIFI / APP HELPDESK WORKSHOPS

16/06/13 20:32


S:230 mm

T:330 mm

S:320 mm

Cannes Lions 2013 Creative Marketer of the Year

Congratulations from your friends at

D6-4deCouv2013.indd 2-3

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PUBLISHED BY BOUTIQUE EDITIONS - WWW.LIONSDAILYNEWS.COM 

friday, JUNE 21, 2013

ALWAYS

ARGENTINA Clow. Lion of St. Mark. Cannes 2013.

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Cannes Lions Daily 2013 - Friday  

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