| Cannes Special 95
The Big game hunt With the Cannes festival celebrating its 60th birthday, the competition will be as hot as the midday sun when it comes to those annual handfuls of precious metal. shots talks to the great and the good from around the world to see what the top executives and creatives are tipping as this year’s big cats rattling the creative cage
SH143_p95-120_ Cannes.indd 95
5/4/13 5:33 PM
96 Cannes Special | cannes contenders 1 Refuge, Don’t Cover Up
2 Expedia, Tags 3 VW Polo, Father Daughter 4 C4 Paralympics, Meet the Superhumans 5 Diet Coke, Gardener
Sam Walker Executive creative director and partner, Karmarama London UK
Dave Henderson & Richard Denney Joint ECDs, DLKW Lowe London
Exciting times in the UK creative community, there’s some fantastic work coming out at the moment, so we’re focusing our predictions on this output. We’ve picked two things from our own network so let’s get those out of the way first. Cif The Web app We were shocked when we found out that the average age of children who encounter hardcore porn on the internet is now eight. So who better to remove all traces of grime, muck and dirt from the web than Cif? This is a simple but brilliantly useful iPad app that with one tap blocks all adult sites and has a ‘swear filter’ that swaps filthy language for squeaky clean words. Marie Curie Cancer Care Symmetry This film has a profound effect on everyone who sees it, such is its powerful repositioning of the end of a life. ‘Your last moments should mean as much as your first’ is an inarguable notion that has done wonders for Marie Curie Cancer Care as a brand and was picked up in all the major UK national press. Expedia Tags Using IATA codes – or airport luggage stickers as we call them – this campaign always raises a smile. Beautifully crafted and effortlessly simple these print ads are a ‘wish we had thought of that’ campaign. Should pick up in the Craft categories too. Refuge Don’t Cover It Up Lovely, simple idea that uses the online make-up tutorials from Lauren Luke to deliver a strong message about domestic violence. Its coverage keeps on growing and rightfully so. C4 Paralympics Meet the Superhumans The Olympics in London lifted the whole nation to a new place, reminding us of the pride we should have in this small but industrious and inventive nation. Then this ad came along and achieved something remarkable, repositioning disability itself as something that requires superhuman spirit.
SH143_p95-120_ Cannes.indd 96
How creatively successful have the past 12 months been in the UK? Massively. The opening ceremony for the 2012 Olympics was mind blowing and I don’t think anyone thought we’d pull it off, particularly the British public. Danny Boyle blew the doors off in terms of both spectacle and eccentricity. What are the main barriers to creativity in the UK at the moment? Trying to convince clients that if everyone does a John Lewis ad it won’t stand out. That, decreasing budgets and clients worried about their jobs.
Draught’s Beer Chase. From the USA, the surprisingly simple but fresh film for Southern Comfort – Beach. Man in his pants. What’s not to like? From outer space, the Red Bull Stratos stunt that saw Felix Baumgartner being thrown from the stratosphere. They threw a man OUT OF SPACE… That’s advertising. It was on every newspaper and TV news show in the world. Groundbreaking.
Neil Dawson ECD, BETC London
What’s the biggest lesson you’ve learned since Cannes 2012? Creativity is even more valuable and important in a recession. “The brave shall inherit the earth” as either Jesus or Joe De Souza said. In a recession, those who are timid will wither and die; those who are bold and continue to make noise will flourish.
Diet Coke Gardener TV ads need to be famous in the real world, not just in adland. Gardener has struck a chord with womankind across Europe and beyond. Why? Because Diet Coke has put women firmly back on top. Portrayed in a thoroughly modern way, the women are no longer the voyeurs but part of the action. C&G Supergroup To create award-winning work with clients where the brand doesn’t have a rich creative history is hard and therefore for me the holy grail. Clients like this should be recognised for their courage.
What has been the biggest industry talking point in the UK this last year? Reduced budgets and the industry getting distracted by attempts to define the next big thing. There are many brilliant ideas out there, irrespective of media or channel. We should stop worrying about whether a PR idea or social idea or Twitter idea is advertising or not and just worry about whether it’s good or not.
VW Polo Father Daughter Every scene is insightful. My favourite is the daughter wearing an oversized jumper on a walk as Dad quietly freezes. The final shot chokes me up every time. It’s a difficult shot to pull off but it is done with aplomb.
And what do you think the biggest talking point of the next 12 months will be? Probably Google Glass and the end of civilisation. What’s been your favourite campaign – UK or otherwise – from the past year? From the UK: The Channel 4 Paralympics Meet the Superhumans campaign stood out. It wasn’t just a great piece of film (and the Thanks for the WarmUp poster was brilliant too), it genuinely helped change perceptions – and not in the usual tear-jerker, guilt-trip way. In a genuinely ‘fuck you, we’re here!’ way; I also liked the Don’t Cover It Up YouTube, make-up campaign for domestic violence charity Refuge. And I quite liked our Costa Coffee Coffee Heads campaign, but it’s rude to talk about yourself. From Australia, Carlton
Paddy Power Ryder Cup Skywritings There are times when a stunt is so timely and well done that it captures perfectly the spirit of an event. The words ‘Do it for Seve’ appearing in the sky the day the European team snatched a win was one of those. C4 Paralympics Meet the Superhumans Simply, this film made the ordinary Olympics look like the warm-up act.
5/4/13 5:33 PM
| Cannes Special 97
Co-chief creative officer, JWT New York
How creatively successful have the last 12 months been in the US? If you’re asking about American creative output as a whole, it’s been a phenomenal year. It’s pretty much impossible to keep up with the flow of stellar television shows, movies, books, articles, apps, bands, tech, cat videos, etc. If you’re asking about the US advertising creative output, it’s been an OK year. Good. Not great. What pieces of US work have impressed you most and why? Axe Susan Glenn. Southern Comfort Beach. Droga5 figured out how to tell an emotional story about retirement plans for Prudential with Day One. Nike’s Find Your Greatness actually inspired me to start running… for about two months. And Nature Valley’s Google Maps project was just so damn smart and useful.
Mark Figliulo Chairman and chief creative officer, TBWA\Chiat\Day New York
Jackie Kelman Bisbee Managing director, Park Pictures New York
Axe Susan Glenn I love this ad for many reasons but mostly because it’s not about the guy nailing the hot girl (which is what we’ve come to expect from Axe). It’s nostalgia at its best. Keifer’s voice is sublime, and it has beautiful art direction and great casting.
What’s the biggest lesson you’ve learned since Cannes 2012? Don’t make breakfast plans with Jeff Benjamin. [CCO JWT North America]
Nike Jogger I feel like this film touched people on a deeper level than most other sports ads. We get up close and personal with an obese kid who’s trying his best. The poignancy of the VO combined with the one-take photography make it a very powerful story. I have tremendous respect for Nike wanting to go down this road.
And what do you think the biggest talking point of the next 12 months will be? I think more and more people are realising that creativity isn’t optional anymore. Businesses have to be creative to survive. People have to be creative to thrive in this job market. Creativity is no longer this weird, magical art practiced only by people who wear scarves in the summer. I’m not even sure why we call one department “creative” at JWT. Everyone here has to be creative in some capacity.
A Petition for Stronger Gun Laws Ed This is a beautifully simple idea from Grey NY. It’s an old-school demo of a very real problem. I’m not sure if the international judges will understand the issue surrounding automatic weapons in the US, but it is centre stage here. Oreo Life Raft I love it when advertising surprises you. I thought I knew where this spot from W+K Portland was going, but I was wrong.
Southern Comfort Beach The most perfect piece of casting and music I’ve seen this year. Period. Spotify For Music I think the director exquisitely captured the power of music by recreating a psychedelic body surf which turns into a gorgeous wave. It’s mesmerising and exquisitely shot. ESPN Name I can’t get enough of people’s reactions when the main character shows up and he’s not THE Michael Jordan but a schlumpy, slightly sad accountant type. The nuanced performances alone are Lion-worthy.
What’s been your favourite campaign – American or otherwise – from the last year? The Guardian work out of BBH London.
The New Museum Recalling 1993 Using pay phones as time machines to highlight a show about New York in the early 90s is a brilliant idea from Droga5 NY.
John Jameson Iron Horse In the age of content, craft will be king. The latest in the John Jameson series is beautifully directed film by John Hillcoat [through Chiat NY]. It’s epic and witty and fits the brand like a glove.
What, for you, is the most exciting aspect of advertising at the moment? Anything can be an ad. We’re only limited by the scope of our ambition. In the last year at JWT, we’ve created a musical for Macy’s and reinvented the Band-Aid. I can’t think of another job that allows you to play in so many different mediums. At once.
What has been the biggest industry talking point in US this last year? The cynics in our world continue to debate whether our industry has a future. The believers argue that all this change will lead to more opportunities to make great work. I side with the believers. Americans really like to buy things, and I don’t see that changing.
Brooklyn Film Festival Film Codes I love the idea of creating a barcode based on an actual film that could then be put on a poster or a film director’s business card to give away. Each code [created by Chiat NY] is a piece of art as distinct as the film they connect you to. Very cool.
Will you be attending Cannes 2013 and, if so, what are you most looking forward to? Yes. I look forward to seeing old friends and clients. It’s a good week for inspiration, jealousy and gossip.
1 Petition for Stronger Gun Laws, Ed 2 Nike, Find Your Greatness 3 Southern Comfort, Beach 4 Oreo, Life Raft 5 The New Museum, Recalling 1993 6 Axe, Susan Glenn
SH143_p95-120_ Cannes.indd 97
5/4/13 5:33 PM
98 cannes special | cannes contenders 1
Wesley ter haar Founder & coo, MediaMonks amsterdam
How do you think the previous 12 months have been in terms of creative digital ideas and execution? The quality of execution, and of digital craft in general, has never been higher. Most agencies understand the value of production and more and more production agencies are delivering strong and diverse work. As an industry we seem to be a bit wary of unashamedly interactive ideas at the moment, preferring storytelling and film-heavy work to ideas that require a lot of user interaction and engagement. It’s a natural result now that digital is more about reach.
Andy Fowler executive creative director, Brothers & sisters London
as I lined up these digital corkers from the last 12 months, it dawned on me that they all share a loving craft, a tactile playfulness that makes them feel human and soulful rather than in any way techy. digital craft has come of age. aye aye to that.
What piece or pieces of digital work have stood out for you this past year and why? Clouds Over Cuba is this year’s Bear71, as it uses digital to add value to an existing field (documentaries) and creates something completely new in the process. A lot of the Chrome work has been interesting this year, and they continue to push technology as the basis for creative ideas. From a campaign perspective, I really enjoyed work that tied into the randomness of digital. It’s a risky tactic but when it works (Old Spice Muscle Music and the Three Mobile Pony spring to mind) the rewards are huge.
Bobby Womack Bravest Man in the Universe I love this Bobby Womack record and what’s so nice about this project from B-reel and Google is the simplicity and emotional quality of it. the music is haunting and the aesthetic of the game fits well. It’s got a beautiful pared back colour palette and the interaction is simple enough to be fun. onlybecausewecan.com It’s very sexy. crafted to within an inch of its life. I love how the sound design merges and you get the bleached visual effect when you click on a garment. It’s very tactile and feels lovely every time you press a button. You just want to keep playing with it, which you can’t say often for interactive catalogues.
After all the talk, seminars and discussion over recent years, do you think that the majority of the advertising industry has embraced digital and what it can do for them? I’m sure there are still agencies and agency people that don’t rate digital, but as an industry this discussion is done. It’s impossible to talk about consumers and brands without a digital context.
Hyundai Epic Playdate I love the miniature world the stink digital guys have created here. the games in each world are gorgeous and heaps of fun. the degree of craft that’s gone into it has paid off. not sure I’ll be running to my nearest Hyundai dealer but I’ve just spent more time with their brand than ever before!
What do you think the main creative issues facing digital advertising will be over the next 12 months? The two big ones are mobile and social content creation. Mobile is not an easy platform for advertising, and creatively it is mostly about constraints. We can’t rely on fancy app ideas either as consumers are downloading less and less one-offs or frivolous campaign applications. It’s all about fun and functionality and those are difficult areas to play in for brands and agencies.
MTV Pool Party I’m not entirely sure what this is trying to sell me or convince me to do, other than gain MtV a mobile foothold with ‘the kids’. seamlessly put together and full of little surprises, the only gripe would be it’s a little hard to change character because the camera is so jerky. Like nailing jelly to a wall. mylondonstory.co.uk about a year ago I was chatting with my friend, Greg Williams, exec editor of Wired magazine, about an idea for a locationbased storytelling platform. Lo and behold we launched My London Story a few months ago. the dream is to cover a map of London with real, personal, emotional memories. a memory map, if you like. the first two editions are packed with vivid tales from well-known novelists and journalists that give new meaning to the places they’re set. We’ve created a lovely reading experience, full of Instagram photography to place the stories in context. and we’ve only just begun.
SH143_p95-120_ Cannes.indd 98
Social content creation for brands is broken, and needs an update. We can’t keep churning out the same Valentines wall-posts and badly photoshopped TGIF images and expect consumers to react favourably. What’s been the main talking point in the digital arena over the past 12 months? The main talking point has been data, or Big Data. It’s definitely the trend du jour, but might be overshadowing some equally pressing matters. What are your predictions for Cyber/Titanium Lion success in 2013? I’m hoping to see some mobile-first work, and would be surprised if some of the Chrome and Old Spice work doesn’t pick up at least a Cyber Lion. What have you learned from the past 12 months? We’re a production shop, so the learning is that there is always more to learn. The past 12 months have seen us create a wearable, shareable, programmable t-shirt, give away tickets to space, shift more than 50 per cent of our development to mobile platforms and build campaigns that have turned into platforms. Digital is a very broad church, and the most exciting things tend to happen at the edges. Will you be attending the festival and how valuable do you think it is in terms of learning where things are going in the future? Definitely, MediaMonks co-organises the big Wednesday party with MassiveMusic so we will be there with a big delegation. It’s an amazing opportunity to meet, mingle and learn. Is the term ‘digital’ even still relevant and what’s the direction for the category/ﬁeld? I think it’s too early to retire the term after we’ve spent so much time making sure it gets a bit of the limelight. The field will keep doing what it has always done, which is finding new and exciting ways to tell stories. 1 Hyundai, Epic Playdate 2 Three Mobile, Pony 3 Old Spice, Muscle Music 4 Bobby Womack, Bravest Man in the Universe
5/4/13 5:33 PM
Shots_Ad_2013_130x215_Shots_130x215 16/05/2013 10:25 Page 1
LO N D O N 13—14 Margaret Street. London. W1W 8RN Tel: +44 (0)20 7636 1464 NEW YORK 118 W. 22nd St. 7th Floor New York. NY 10011 Tel: +1 (212) 375 9800 L O S A N G E L E S 1634 Euclid Street. Santa Monica. CA 90404 Tel: +1 (310) 566 6600 www.finalcut-edit.com
SOUTH AFRICA OFFICE Metal Lane, 4 Kloof Street, Cape Town, 8001 T: +27 21 424 9999 F: +27 21 424 9998 M: +27 83 635 9699 AMERICA OFFICE 507 N. Almont Drive, Los Angeles, CA, 90048, USA T: +1 310 273 9693 F: +1 310 273 9698 M: +1 213 675 5411
Your gateway to filming in Africa, the continent with the most spectacular locations on Earth! email@example.com
AFS SHOTS 2013 215 x 130.indd 1
5/11/13 11:34 AM
18/5/11 20:50:40 Untitled-1 3
| Cannes Special 101
cannes contenders 1
1 Red Bull Stratos 2 Budweiser, Red Light
3 James Ready work from Leo Burnett
CCO & cofounder, Sid Lee Montreal
4 Audi Quattro, Experience
Missing Children Society Most Valuable Social Network The use of social media in this particular cause is crucial because, when you lose a child, every second counts. To me, this campaign from Grey Canada is this year’s best use of social media.
5 Clouds Over Cuba
BIAN (Biennale International d’art numérique de Montréal) This piece from Baillat Cardell et Fils is just perfectly executed. Every piece of the brand identity is beautifully crafted.
Raise the Roof The Street House A unique and surprising piece of design from Leo Burnett. The experience is as impactful as it is beautiful.
Dave Douglass Partner & ECD Anomaly Toronto
How creatively successful have the past 12 months been in Canada? I think it’s been a great year for Canada as we miraculously dodged the recession, which previously had crushed a lot of the creativity in Canada. It seems clients have been very receptive to alternative forms of advertising and are setting aside more media dollars for innovative executions.
fact did I read an article on the Oreo tweet about still being able to dunk in the dark. I thought that was so smart and simple, it’s amazing more marketers didn’t capitalise on that. From that I’d imagine real-time marketing will be talked about and attempted a lot this year. Like our deadlines aren’t crazy enough. “When is the campaign due?” “Right now!”
What pieces of Canadian work have impressed you most and why? It’s a bit self-serving, but I have a lot of heart for our Budweiser Red Light, which goes off every time your city scores. For Labatt to support an idea like that was definitely impressive on their part. Leo Burnett’s work for James Ready beer has been consistently great.
What’s been your favourite campaign – Canadian or otherwise – from the last year? Red Bull Stratos blew my mind, although when Joseph Kittinger did the first high-altitude jump in 1959 it was way cooler, as he basically did it in leather pyjamas and actually broke the sound barrier. I think he may have even been smoking a cigarette on the way down. Stratos just felt so far beyond regular advertising, and for a brand to embrace that is really wonderful. It’s a throwback to the day when the advertising was more shocking than the programming.
What are the main barriers to creativity in the country at the moment? Having enough time is always a big challenge. Timelines are super compressed and expectations are through the roof on every project, which is probably a good thing for the end result. It just dials up the difficulty. Because more things are being done, we have to work that much harder to get to better places. What’s the biggest lesson you’ve learned since Cannes 2012? Just to focus on the work at hand and not get caught it up in the hype… Not that there’s a lot of hype, but mainly trying to help our teams do work that they are proud of regardless of the outcome. That and start getting your Cannes entries together early — it’s the same deadline for materials every year but somehow it always surprises us. Hooray for extensions. What has been the biggest industry talking point in Canada this last year? Hopefully Anomaly (shameless agency plug goes here). And what do you think the biggest talking point of the next 12 months will be? I was at the Super Bowl when the power went out and only after the
SH143_p95-120_ Cannes.indd 101
Will you be attending Cannes 2013 and, if so, what are you most looking forward to? Hoping to attend in 2013 as I haven’t been in a few years. I would most look forward to seeing all the work, the great people I haven’t seen in a while, and maybe renting a seaside lounge chair at Hotel Martinez, ordering up ludicrously priced cocktails and attempting to charge them to Paul Lavoie’s room… Which never works because I dress like a farmer.
Audi Quattro Experience It’s a good mix between innovation and experiential branding. adidas London Olympics This campaign from Sid Lee reflects a full 360° approach on a brand, with great results.
Petter Westlund Founding partner & chief creative officer, B-Reel Los Angeles
The last 12 months, in terms of creative digital ideas and execution, has lacked the really brightly shining star projects. It feels like time has caught up with us in digital. We can’t just flash some new technology and get a lot of attention. We’ve done the immersive microsites, crazy API mash-ups, the physical-digital thing. It’s back to the great story, the mind-blowing idea. You still need to push tech, but it’s not enough on its own. It is becoming more of a commodity. On the technical and user experience side, we’re still getting our bearings in the world of responsive, multiple screenexperiences in the post-Flash era. I just can’t wait to reach the point where we surpass the possibilities we had with the previous tech, and start breaking new ground in terms of the digital experience itself. There is so much left to do! The digital work that has stood out for me – the Clouds Over Cuba project which used video in a really sensible way. And I hope we made a mark with our The Beauty Inside project, trying to push the social film concept further. And we are very proud of the Chrome Web Lab.
5/4/13 5:33 PM
102 Cannes Special | cannes contenders South Africa
1 Doom, Wall of Shoes 2 Carlsberg, Puts Friendship to the Test
Co-founder and group creative director, KingJames South Africa
3 Amstel, Boxer
How creatively successful have the past 12 months been in South Africa? It’s fascinating to watch the ebb and flow of South Africa’s creative standards, category by category. Print used to be our crown jewel, and that’s not really the case any more. We are in a radio phase now, following on from our successes in Cannes. Film is starting to show promise again with quite a few brands upping the ante with their commercials. I think we are still troubled by how relatively weak our digital offering is and this will be the focus of many agencies in the years ahead.
5 Volkswagen, Street Quest
4 The Cape Times Newspaper, Selfies
What are the main barriers to creativity in South Africa at the moment? There are no barriers other than our own sense of self-belief. South Africans are notoriously hard on themselves. We love to bash ourselves and our circumstances. Sure, we don’t have the same budgets that are available in leading markets, but I do think we have more freedom in many respects. We just have to keep fighting the good fight and get more and more clients to buy the work that gets talked about.
Gavin Whitfield Creative director, Saatchi & Saatchi Cape Town
The Cape Times Newspaper Selfies It’s a really nice, simple, contemporary twist on a well-worn idea by Lowe & Partners Cape Town. It’s a print campaign already picking up metal at all the major shows and I doubt Cannes will be any different. Frank Insurance Death Doesn’t Try Very Hard No doubt Network BBDO and Mercedes, the reigning champions of Cannes radio, will make an impact. Yawn. But, my pick for this category is this spot for Frank Insurance by FOXP2 Cape Town. Simple, direct work in a traditionally boring category.
What’s the biggest lesson you’ve learned since Cannes 2012? It’s clear that more brands are developing a deeper social conscience and that conscience is starting to come through in communications across all platforms. The days of flogging brand features and benefits are largely behind us, and more brands are looking to make a genuine difference to their customers’ lives.
Doom Wall of Shoes This is my Outdoor pick from TBWA\South Africa. It’s simple and fun and done on an exciting scale. Amstel Boxer I’m not sure South Africa is going to set Cannes alight in telly this year. But, my pick is for Amstel Boxer by the OwenKessel Agency and shot by Greg Gray. Beautifully crafted and another visual feast from DP Paul Gilpin. Volkswagen Street Quest Digital and interactive is not our strongest category for well documented reasons. But, watch out world, because we’re catching on. My favourite for Cannes this year is Volkswagen’s Street Quest from Ogilvy Cape Town. A really fun and engaging piece that appears to have actually resulted in real-world participation. Kudos.
SH143_p95-120_ Cannes.indd 102
What pieces of South African work have impressed you most and why? I haven’t been a massive fan of Nando’s advertising over the past five years, but 2012 was an exceptional year for them, particularly on the film front. It has evolved as a brand and started to confront some quite sensitive subjects in South Africa, and I think its courage as an advertiser is commendable. I’m not sure the rest of the world fully appreciates how provocative they have been in South Africa.
What has been the biggest industry talking point in South Africa this last year? There is no question that there is a change of guard taking place in South Africa, agency-wise. The stalwarts of old are suddenly looking fragile and a number of agencies that have kept under the radar in the past are suddenly very much on the upsurge, both creatively and in a business sense. Marketers are loving the options available to them right now. The independents continue to be menacing for the multinationals, with all three of the main independents (KingJames, FoxP2 and Joe Public) all opening full-service agencies in second cities. And what do you think the biggest talking point of the next 12 months will be? I think there are a lot of agencies in the middle of some quite dramatic change right now – some for the better and some for the worse. I think the dust will settle this year and the new players for the rest of the decade will be clear. There is no doubt though that creative talent is evenly spread across the industry and every agency is capable of producing great work. However, business realities and the personal drive of each agency will decide the outcome. Many agencies will use this year to merge digital and traditional offerings and that should set the tone for what agencies will look like in South Africa going forward. What’s been your favourite campaign – South African or otherwise – from the past year? A lot of my favourite work is happening as digital film and branded content. Brands such as Carlsberg are making ads that look less like ads and more like social experiments, and it does great things for the brand in my opinion. Films such as Stunt with Bikers and Carlsberg Puts Friendship To The Test are more rewarding to me than many of Carlsberg’s traditional ads. I am also a big fan of Old Spice’s advertising. It looks to me like a brand that is in full creative flight and it’s wonderful to see how much fun they’re having with their brand. Will you be attending Cannes 2013 and, if so, what are you most looking forward to? I’m attending Cannes as a judge on the Film jury, so there’s not much to look forward to other than long hours and thousands of ads. But I believe that the panel is very distinguished this year, so I am mostly looking forward to watching and learning from those I have long admired. I am also looking forward to seeing what dimension – if any – digital brings to the film category.
5/4/13 5:33 PM
Norrlands Guld / Jesper Kouthoofd / Kouthoofd Inc
+27 21 465 4188
w w w. o r a n g e f i l m s . c o . z a
104 Cannes Special | cannes contenders FRANCE
Matthieu de Lesseux
Executive creative director CLM BBDO Paris
CEO, DDB Paris
Musée de la Grande Guerre de la ville de Meaux Léon Vivien The Musée de la Grande Guerre houses the richest collection in Europe devoted to the 1914-1918 conflict, and offers a new vision of World War One. Using documents overseen by historian Jean-Pierre Verney, DDB Paris imagined the daily Facebook updates of a young Frenchman a century ago, at a time when millions died in conflict.
How creatively successful have the past 12 months been in France? We have felt the effects of the economic crisis strongly during the past 12 months in France, so production has been very low. But, in terms of creativity, we have seen very good pieces of work, very fresh. Nothing as strong and international as Canal+ The Bear from 2011 but a lot of stuff with different approaches showing that agencies and clients are starting to think differently – PR, digital, events, media, etc. In the festivals, the results have not been so impressive yet, but it’s encouraging for Cannes.
Perrier Secret Place To celebrate 150 years of the brand, Perrier launched an immersive digital experience which admits users to a secret party in Paris, through the eyes of 60 different mysterious characters. You use the interactive video to find the secret treasure, and win the chance to get an invitation to one of the world’s wildest parties – either the Carnival in Rio, Ibiza in Spain, St Tropez in France, Art Basel in Miami or New Year’s Eve in Sydney.
What pieces of French work have impressed you most and why? I haven’t been impressed by any French work. Unfortunately, I think the impressive ideas have all ended up in the trash bin. But I was jealous when I saw the campaign by DDB Paris for ANLCI (a French organisation fighting illiteracy). It’s a poster campaign – traditional media – but so clever. I was also jealous when I discovered Facebook 1914 from DDB. The craft is fantastic, the writing also. I was jealous when I saw the biggest joke ever for Carambar by Fred & Farid. In terms of PR, it was huge. And I was happy when I saw the campaign for Citroën DS3 Cabrio, Baby, with the guy feeling like a long-haired baby on horseback [directed by Tom Kuntz, via agency H Paris]. Happy because the car category is completely depressed in France, so this kind of craziness is more than welcome.
Air France Music in the Sky Air France’s Music in the Sky app lets you discover new songs and create playlists by lifting your smartphone to the sky, where you can find exclusive pieces of music hidden in the clouds. From Paris to Tokyo passing through Buenos Aires, the sky in every region has its own tracks. Discover something new on every journey. Oasis Community management of their Facebook page by Marcel Oasis may have the most agile community management in France. The brand managed to build a strong relationship with its active online community (the number-two Facebook page in France with three million fans). They often react to news and sports events in a funny way, using subtle word games and their funny characters, who became the brand’s spokespersons.
What are the main barriers to creativity in France at the moment? It would be easy to say the clients. But I think that the main barrier is the difficulty to sell innovative ideas – to convince clients to try something new, something different. It’s difficult to reassure them. That’s why a good relationship between agency and client is precious – it’s a question of trust.
What’s the biggest lesson you’ve learned since Cannes 2012? More than ever, the power of big, global ideas. Also, the necessity to explore new medias and new technologies.
1 Perrier Secret Place 2 Air France Music in the Sky
3 ALB Golden Chains 4 Citreon DS3 Cabrio, Baby 5 Landrover, Tumble
SH143_p95-120_ Cannes.indd 104
Jérôme Denis Executive producer & partner, Wanda Productions Paris
There have been so many good films, content and stunts that have been bumping into each other in my head… I would say Old Spice Muscle Music or Nike CP3 VI Cut Through LA, or even Push to Add Drama by Duval Guillaume. Each of them are unexpected pieces connected to good brands that I’ve enjoyed watching again and again. Also, the brilliant and smart commercial directed by Glue Society, Be Good with Money. Or The Star hotel from Steve Rogers. I also think Noam Murro’s Land Rover Tumble is really amazing for such a car. I just saw it yesterday. It’s poetic, symbolic and simple. Also, the Nike Greatness by Lance Acord and Seb Edwards. I think VW Dad by DDB London was one of the good, simple, emotional pieces of the year. I’ve been really impressed by the Logitech Truce campaign shot by Paul Hunter, the way it’s executed and the way music as a topic is connected to history. And if Cannes would leave room for promos, I would definitely give a gold, silver, bronze and Grand Prix to DANIELS’ work, whatever they do. It’s never just easily controversial, violent or gratuitous, but it mixes emotion, mental visions and technique. That’s just genius.
What has been the biggest industry talking point in France this past year? Honestly, I’ve got no idea. I was too busy at work. Perhaps the lack of money in production or the necessity to adapt. And what do you think the biggest talking point of the next 12 months will be? Impossible to say. Everything goes so fast! What’s been your favourite campaign – French or otherwise – from the past year? There is one campaign from CLM BBDO that I’m particularly proud of – the interactive music video for French artist ALB [titled Golden Chains]. Will you be attending Cannes 2013 and, if so, what are you most looking forward to? I’ll be attending Cannes and I’m looking forward to finding out the results of the Creative Effectiveness category. It will be the proof for our clients that creativity works.
5/4/13 5:33 PM
Films, Art, Activation Executive Producer - Stella Orsini - firstname.lastname@example.org Producer - Federica Dordoni - email@example.com via Varese, 12 20124 Milano - Italy tel: +39 02 620 051
hfilms.net / accapiu.com shots2013c.pdf
106 Cannes Special | cannes contenders germany
1 Smart fortwo, Offroad 2 Hornbach, Symphony
3 Volkwagen Don’t Make UpAnd Drive
Managing director & executive producer, Markenfilm Germany
4 Bund Tree Concert
Smart fortwo Offroad A strong idea because it is so simple and clear – and so absurd that it makes me laugh out loud.
Hornbach Symphony A symphony of DIY sounds, perfectly orchestrated – better than any ‘symphony idea’ before. Volkswagen Don’t make up and drive Simple. Surprising. Convincing. What more can you ask for? Mercedes-Benz Vans MacGyver and the new Citan This is how branded entertainment is meant to be: entertaining and well executed. A grand old hero in a grand film spectacle for a three-part webisode. We’re talking heavy-duty action! Kingdom of Sports Fat Kills Kill Fat Pure essence of a simple (but great) idea. Sam Holst just knows his craft. He intertwines the beautiful with the ugly so subtly, and it makes the outcome even stronger.
Michael M. Maschke Head of creative services, Saatchi & Saatchi, Germany and Switzerland
How creatively successful have the last 12 month been in Germany? Well, after being No. 2 in 2011 and No. 3 in 2012 in the Cannes Country Ranking, I’m optimistic that we will be able to turn this trend in 2013. What pieces of German work have impressed you most and why? We have a saying; ‘Eigenlob stinkt’. Which means ‘self-praise stinks’. Well, if that is true, please open the window before you continue to read... Or quickly take a deep breath. Ready? I love our Days of Hope social campaign for Diakonie from the Berlin office, where real homeless people presented the weather forecast on TV in the winter. The idea was executed not only in Germany but in many other countries as well. Beside the high relevance for our client, all the clicks, the fantastic PR coverage and the fact that some of the homeless got real job offers, I love it because it took us nearly 18 months to sell the idea and another three months to produce it. So it shows that persistence pays off.
EP, B-Reel Berlin
Adidas The Biggest Champions League Final An impressive activation taking place in the heart of Munich that gives Europeans the chance to participate in the biggest final. A great example of an offline/online project. Kayak Search One and Done Great, useful app, no more and no less. BUND Tree Concert Beautiful installation and interesting take on sound and interactivity. Smart fortwo Offroad Demonstrating a Smart’s natural habitat with a twinkle in the eye. It’s clever and funny and I like the simplicity and the fact that they only feature the car. Nike Hungry German Youth It involved pretty much just a t-shirt but went right on target and had a huge response in Germany by choosing the right channels.
SH143_p95-120_ Cannes.indd 106
What are the main barriers to creativity in Germany at the moment? There are no barriers to creativity in Germany. Well, unless you are working in one of those fantastic open plan offices and have left your earphones at home. What’s the biggest lesson you’ve learned since Cannes 2012? That Kevin Roberts was right when he said we live in a VUCA world: volatile, uncertain, complex and ambiguous. In 2011 he said our job is to turn it into one that is vibrant, unreal, crazy and astounding. It took me till late 2012 to understand. What has been the biggest industry talking point in Germany this past year? The Art Directors Club and the Gesamtverband Kommunikations Agenturen (GWA), the umbrella association of the biggest agencies, reorganised the German rankings. So last December, five
awards were chosen to be relevant for the creative index (London International, Cannes Lions, One Show, D&AD, and the German ADC) and a further five for the efficiency index (GWA Effie, Cannes Effectiveness, Euro Effie, Effie Worldwide, AME). And what do you think the biggest talking point of the next 12 months will be? 2012 was the ‘Year of Efficiency’. 2013 will be the ‘Year of Relevance’. From ‘Is this headline relevant for the campaign?’ over ‘Is this product relevant for the market’ to ‘Is this country relevant for the network?’ What’s been your favourite campaign – German or otherwise – from the past year? The Biggest Champions League Final for adidas from Heimat. The idea is based on a clever insight that to be a football fan means you make a decision which will affect your whole life. It’s brilliantly executed. And the fact that Bayern München did not win the final. What can I say; my club is Fortuna Düsseldorf. Is Germany producing much young advertising talent? Yes. I’ve judged our New German Directors’ Showcase for five years now and I will chair the Porsche Award jury for the second time this year. It’s fantastic to see these stunning talents that come up every year. Not only directors, but writers, art directors, digital multi-talents. There is a lot of fresh blood in the industry. Will you be attending Cannes 2013 and, if so, what are you most looking forward to? To drink small warm beers in front of the crowded Martinez bar, to sleep in apartments below youth hostel standard for more than €300 per night, to stay in a dark, cold bunker, when then sun is burning on the beach nearby, only to find these little moments of inspiration and a handful of outstanding campaigns you haven’t seen before? Yes, of course!
5/4/13 5:33 PM
ESA inspires you to reach for a pen Corydon Wagner
Gianni Cerretani - firstname.lastname@example.org Corin Long - email@example.com ESA Inspire, London +44 207 256 2211 esainspire.com
108 Cannes Special | cannes contenders netherlands
Mark Chalmers Executive creative director Tribal DDB Amsterdam
How creatively successful have the past 12 months been in the Netherlands? We’ve seen a rise in an opportunist, resourceful and creative approach.
Juan Garcia-Escudero Executive creative director Leo Burnett Spain
How creatively successful have the past 12 months been in Spain? I hate to say ‘due to the financial crisis’, but Spain is clearly suffering a situation in which clients are terrified about making decisions and we all know fear is the number-one enemy of creativity. That said, I think there are some examples of great work. What pieces of Spanish work have impressed you most and why? There’s a great TVC for the Spanish lottery called Vineyards from McCann Madrid, that has both a strong and unexpected concept as well as great crafting. I also think that TBWA has good chances with their print work for PSP (Mouse & Cheese and Steel Ball & Magnet). What are the main barriers to creativity in Spain at the moment? Is the economy still making things difficult? The economic situation is complicating the game. Shrinking budgets and marketing people thinking more about keeping
Brian Bourke Senior Producer Minivegas Amsterdam
TNT Push To Add Drama We love the concept of this, the execution is a lot of fun, the riot looks great and there is definitely drama!
adidas The Biggest Champions League Final This campaign really stands out because there are so many strands to it. It was an incredible achievement to pull off, and resulted in massive success for adidas. Oh, and we did it.
SH143_p95-120_ Cannes.indd 108
What has been the biggest industry talking point in Spain this past year? Everyone has been talking about the reinvention of the agency model. We have to find new ways of ensuring excellence while maintaining the profitability. And what do you think the biggest talking point of the next 12 months will be? It will probably be the crisis and how on Earth can we get out of it.
Will you be attending Cannes 2013 and, if so, what are you most looking forward to? I always look for the same thing, and that is to learn, learn and learn. I love being blown away by the amount of talent displayed. It makes you humble, it makes you want to be better.
Even Apeldoorn Bellen Eurovisie From director Paul Meijer, this is a fun spot with a good classic comedy take.
Domino’s Pizza One Sentence Serenade Silly and funny.
What’s the biggest lesson you’ve learned since Cannes 2012? Our ideas can change the game for our clients, not only on the communication side but also in their business. We have to earn our clients’ trust so that they let us be more involved in product innovation, business solutions and so on.
What’s been your favourite campaign – Spanish or otherwise – from the past year? I fell in love with Susan Glenn for Axe the moment I saw it. My Blood is Red and Black for Hemoba by Leo Burnett Tailor Made makes me incredibly jealous. It’s that type of simplicity I admire the most.
Triodos Bank Klein is het Nieuwe Groot The imagery struck us as very powerful and beautiful.
their jobs than making the right decisions are resulting in the indiscriminate slaughter of great ideas that could ironically save their businesses.
1 Hemoba, My Blood is Red and Black 2 PSP, Mouse & Cheese 3 TNT: Push To Add Drama
What pieces of Dutch work have impressed you most and why? WeTransfer has made some significant changes and continues to build and communicate its product really well. INDIE is showing the strength of its relationship with Domino’s Pizza with a lot of fast and appropriate work. The tone of voice and attitude is great. What are the main barriers to creativity in the Netherlands at the moment? I have no idea. You could say reduced budgets and fearful clients, but on the other hand, they’re the opportunity too. What’s the biggest lesson you’ve learned since Cannes 2012? I’ve got an even bigger respect for production and craft. A great idea executed badly performs a lot worse than a bad idea executed well. Take the KLM Space. It’s a sales and marketing competition and yet the craft is extraordinary. Kudos to Rapp Collins, DDB & Tribal Amsterdam and MediaMonks. What has been the biggest industry talking point in the Netherlands this last year? It’s healthier to look outside the industry, to the rise of 3D printing. The democratisation of manufacturing is just brilliant. And Studio Roosegaarde do some explorations we can all be inspired by. And what do you think the biggest talking point of the next 12 months will be? We’re going to see the ‘children’ of the recession: creativity, brands, products, services that have been shaped by it or survived. I don’t know what they’ll look like, but they should be pretty good. And playing around with hardware is the new playing around with software. Everything will no doubt get printed and then we’ll get more serious. What’s been your favourite campaign – Dutch or otherwise – from the past year? As a Beck and Bowie lover, Hello-Again from Lincoln. Great installation, great performance, great song, great experience. From the DDB &Tribal Amsterdam camp, Heineken Ignite has been fantastic. Will you be attending Cannes 2013 and, if so, what are you most looking forward to? It’s been a great year of creativity for DDB & Tribal Amsterdam and this coincides with Cannes celebrating its 60 years of creativity. And Shephard Fairey will be in town and that sets a great tone.
5/4/13 5:33 PM
| Cannes Special 111
Sajan Raj Kurup
1 MP Tourism Holi
2 Frooti, the Magic of Mango
Founder and creative chairman Creativeland Asia
3 Nike Paralell Journeys
How creatively successful have the past 12 months been in India? The last 12 months for India hasn’t been anything much to boast about.
What pieces of Indian work have impressed you most and why? The MP Tourism Holi TVC. The Mango Frooti TVC. The Movies-Now print work for the Chaplin Festival. All three have strong ideas, are immaculately executed and were done for real. What are the main barriers to creativity in India at the moment? India is in the middle of an interesting creative churn. Clients have been at their demanding best as far as disruptive, interesting work is concerned. There is ingenious creative work visible in the market. I can clearly see the average going up. A few high notes are on the cards soon. What’s the biggest lesson you’ve learned since Cannes 2012? That the business of awards seems to be booming and is quite resistant to economic instability. There has been a lot of controversy in India surrounding scam work, and you stepped down from chairing the Goafest jury as a protest against scams. Why did you decide to do that? I had been meaning to do this for a few years. Since I banned scams in my own organisation, I realised that when we create an ecosystem that doesn’t allow us to be dishonest and fake, we do work harder and find credible ways of winning awards. And we did win some big-ticket awards with real work in India and
Roopak Saluja Founder & managing director, Bang Bang Films and Jack in the Box Worldwide
Morphy Richards Juicers Contract India came up with an abstract analogy that taps into the zeitgeist of what’s going on in India right now. Executed so well that it seems effortless. Nike Parallel Journeys It’s the great global Nike commercial made into the great Indian Nike film. Again. By a great Indian director. Again. The Tara Sharma Show It’s a unique concept in branded entertainment. Terribly authentic and beautifully executed. And we made it. Western Union Money Transfer From McCann India, it makes brilliant use of outdoor media to convey a visual metaphor for money transfers.
SH143_p95-120_ Cannes.indd 111
4 VigorPlant, Terrici
abroad. Five Grands Prix, three Agency of the Year awards and some meaningful golds, silvers and bronzes. I thought last year would have been the right time to hang up my awards shoes when Creativeland Asia won the Integrated Grand Prix at Goafest. I continued at the behest of a senior industry member who convinced me that instead of stepping away I must get more involved and help him clean up. I agreed. However, I heard all kinds of rumours of lobbying, block voting, agencies teaming up, of more scams legitimised with client letters winning… I saw Ogilvy pull out, the Ford Figo fiasco, creative heads rolling, international media slamming us... On the morning of Holi and a day before the digital jury was to sit, I was restless. I did not know if I wanted to commit to this for my own sanity. My heart was just not in it. My mind followed. And my conscience agreed. I sent a letter to the organisers informing them of my decision to stay away.
Barbara Guieu & Lorenzo Damiani
How can India regain credibility? It’ll take just a few great pieces of work for India to bounce back. I think the timing is ripe. We have the talent. We have the opportunity. If we focus hard on good, honest work that works in India, there’s no reason why we can’t be the best in the world.
Producer & executive producer K48 Italy
VigorPlant Terricci A brilliant idea for a difficult product from the Armando Testa agency; great look, beautiful casting and very nice direction. WeBank Smammas Brave operation, elegant and smart direction out of Cayenne and Milanese producers Soho What. It’s a nice interpretation of Italian culture with an international look.
Do you think Cannes has a level of credibility that India can’t compete with? The comparison is a bit unfair. There are always a few not-socredible pieces of work that could win at award shows anywhere. There are always stories of lobbying, favouring and block-voting anywhere. The hunger to win by hook or by crook is perhaps a bit too high right now. The ratio in India is unfairly tilted against real brand work. It is nothing we can’t correct. Do Indian creatives look to Cannes as the benchmark for creative recognition? Cannes is certainly the most talked-about and popular measure for creative recognition for Indian creatives. But there has also been a lurking feeling that work that appeals to the creative sensibilities of India often gets lost in the overwhelming Western influence and formula in Cannes.
Fastweb Fastline A very nice concept from M&C Saatchi. The event was great and very well done. Prosciutti Fiorucci Potere ai Salumi The creative concept by McCann is nice, even if it’s not so original. Casting and direction are great. Edison Farfalle We love the idea and the direction, It’s a good example of elegant comedy, soft but at the same time powerful. Another hit from Soho What and Cayenne.
Will you be attending Cannes 2013 and, if so, what are you most looking forward to? I will certainly be around for a few of the festival days.
5/4/13 5:33 PM
112 Cannes Special | cannes contenders 1
1 Buick Excelle short film
2 Operation Bethlehem 3 United Arrows, Marionettebot 4 SOHO China, Abo
Norman Tan Creative director, Lowe China
How creatively successful have the past 12 months been in China? China has been quite successful in creative performance terms, if I just judge by the results of international award shows such as Cannes Lions. The awards won by agencies from China have included Grands Prix (two years in a row) and many more gold, silver and bronzes. We are starting to make a serious impact. What pieces of Chinese work have impressed you most and why? The new Lowe China Buick Excelle short film campaign is extraordinary work, standing out in the crowded ordinary car advertising market we have always seen in China. What are the main barriers to creativity in China at the moment? There are two main barriers and challenges: one is the client-agency relationship; the second is the cultural differences that occur from city to city, given that China is a vast country. Very often, local client-agency relationships are not built on long-term brand partnerships, but, instead, they are often shortterm. The average local clients’ relationship with their agency is only about 1.8 years. The cultural differences between cities will probably always present a big creative challenge to national communications that, of course, need to appeal to the populist majority. How soon before China becomes a real creative force in the industry, or do you think that has already happened? To be honest, this question is not really a matter for our industry alone. Unlike the car industry, for example, the creative forces leading the industry are more obvious because it
SH143_p95-120_ Cannes.indd 112
involves technology and ‘know-how’. In our industry, technology is often there to support the creativity – our ‘know-how’ – so it’s really more about understanding the consumer insight and truth. Communication that works in the UK, for example, is not necessarily going to work in Japan, or the other way around. Good creativity, no matter where it comes from, can always be inspirational. This is the beauty of creativity. When creativity from China constantly inspires more and more across our industry, that’s the day when we become a ‘real creative force’. What’s the biggest lesson you’ve learned since Cannes 2012? If you want to play the game, play well. What has been the biggest industry talking point in China this last year? Micro-films. Far too many micro-films are being done for communications in China – mostly badly done or doing it for the sake of a trend. And what do you think the biggest talking point of the next 12 months will be? I don’t know yet. I hope Lowe China will be the agency that creates the biggest talking point. What’s been your favourite campaign – Chinese or otherwise – from the past year? Operation Bethlehem from Lowe SSP3 in Bogota. Will you be attending Cannes 2013 and, if so, what are you most looking forward to? I’ve not decided yet. Depending on budget and workload, if I go I am looking forward to attending good seminars and hoping to win a few good awards.
Johnny Tan Executive creative director, BBH China
Peta Fur Hurts This piece of work for Peta shows animals modelling a line of high-end fashion apparel made out of human parts. It is bold and intriguing and pretty provocative; effective in building awareness in a country like China where the situation is severe. SOHO China Abo Another campaign that stood out was for SOHO China (a real estate developer). It’s a series of online films that features a monkey named Abo, the first creature to travel into space, who did not return to China because it had become a country of copycats. With its return, it aims to inspire China to strive to be innovative. This was an integrated campaign complete with ‘town hall’ discussions with innovation experts. It’s refreshing to see brave work from brands that are traditionally pegged as conservative or formulaic. United Arrows Marionettebot This is actually from Japan for a brand named United Arrows; a retail fashion store. They created a simple yet engaging store experience whereby a robotic marionette, powered by Kinect, was installed in the storefront which could emulate the motion and behaviours of passers-by. There should certainly be more creative retail experiences like this. Johnny Walker Conviction Johnnie Walker in China launched a unique tactical print/digital campaign for the 2012 Paralympics. Chinese words are pictographic in nature; composed of various elements, including ‘strokes’ that represent people’s arms, legs and eyes. Together they form words with meaning. This campaign shows inspirational statements with missing strokes i.e. missing ‘limbs’ and ‘eyes’, reflecting the conditions of Paralympians. Despite the absence, one could still get the essence of the ‘Keep Walking’ statements. It is a fresh, clever and uniquely Chinese campaign. It’s particularly smart to have the ads run beside the news of the winners of the day. WWF Blackout World Wildlife Fund’s Blackout brings Earth Hour to the digital space and to an exponentially larger audience. On the evening of Earth Hour, six of China’s largest digital portals blacked out their landing pages for an hour. Where the cursor is, a window is lit with a statement; ‘Only light up what you need’. At the corner of the page, users can choose to be linked and be involved in other WWF activities. This clever idea takes an already symbolic experience to create a greater awareness online. The real power of this idea is the coordinated involvement of these digital portals which gives it massive reach.
5/4/13 5:33 PM
114 Cannes Special | cannes contenders japan
Creative director, ADK Tokyo
How creatively successful have the past 12 months been in Japan? It’s been a good year in terms of outstanding ideas and good executions, especially in the design and digital areas. JAPAN
What pieces of Japanese work have impressed you most and why? Two pieces of work come to my mind. The first one is Sony, MAKE TV, which let many people be involved in making a music video ‘live’ and online, maybe for the first time in the world. Panasonic, Eclipse Live from Fujiyama, is also a clever promotion, utilising the rare event of a solar eclipse. Both these works allowed people to experience technology in a totally new way.
Blake Harrop Managing director,
Wieden+Kennedy Tokyo Nike Vapor Trail A global spot that studies the devastating effect of speed as Cristiano Ronaldo rips through opponents in his Nike Mercurial Vapor soccer shoes. Simple idea with fresh and thoughtful art direction by Wieden+Kennedy Tokyo/Portland
What are the main barriers to creativity in Japan at the moment? There are many barriers. We have a wide variety of media, but we must make sure we have enough time to produce context that can solve the problem – the time from brief to presentation remains as short as ever. Secondly, 15-second spots are still the mainstream in Japanese TVCs. Japanese ads have become ‘Galapagos Islands’, and have been left behind from the rest of the world, evolving in their own way. Furthermore, the product department has more say than the marketing department at many Japanese advertisers, so ads tend to be a ‘catalogue’ occupied with descriptions of product functions.
Nike Baseball Pledge This spot by W+K Tokyo turned the world of Japanese team sports upside down by highlighting the individual that steps up. It also showed deep love and respect for the traditions of baseball culture in Japan. Google Chrome World Wide Maze Really nice Chrome experiment that creates a 3D game out of the two everyday screens you use, and the everyday sites you visit on them. A fun, imaginative, and nice technology showcase from Party Tokyo. Omote 3D Printing Booth A 3D printing booth was installed by Party Tokyo at an upscale Tokyo department store. A wonderful attention to detail made this an experience that took 3D printing out of tech blogs and into the world of art and fashion. Tokyo City Symphony Perhaps launched too late to be submitted this year, this recent projection-mapping experience by SIX/Hakuhodo was created to celebrate the 10th anniversary of the Roppongi Hills development. It’s full of mad craft and simple, elegant interaction that allowed people to manipulate the projection via their keyboards.
What’s the biggest lesson you’ve learned since Cannes 2012? I’ve been learning a lot. The mission of a creative has turned into areas such as solving social issues and developing new features
1 Nike, Baseball Pledge 2 Sony, MAKE TV 3 Nike, Vapor Trail
4 Google Chrome, World Wide Maze 5 Panasonic, Eclipse Live from Fujiyama 6 Nike, No Cup is Safe
SH143_p95-120_ Cannes.indd 114
and services. American Express Small Business Gets an Official Day and Nike+ FuelBand have won many Lions. Even in the ‘traditional’ film category, work like Chipotle, Back to the Start, which cast a new value to the people and changed the world, was highly evaluated. It’s a time when creativity can show the power it has to contribute to society more than ever. What has been the biggest industry talking point in Japan this last year? To make a campaign through mobile is something that can no longer be avoided. Mobile is becoming the best tool for getting information now. Many clients are more and more keen to connect directly with consumers. There have been lots of excellent apps, for example Toyota Backseat Driver. And what do you think the biggest talking point of the next 12 months will be? The big issue is how well we face digital. There are still many people on the client side and in agencies who think using technology is an idea in itself. Of course, this is a great mistake. Technology is not a purpose but a means to achieving the mission. Nowadays it is possible for consumers to express themselves easily using digital. More than ever before, agencies will have to provide a surprising mechanism or surprising ideas that people have never seen. In addition, since we can see clearly the effectiveness in digital, results will be more important for both advertiser and agency. We have to develop programs in order to modify the campaign on the basis of the results, and to take advantage of the results in the next one. What’s been your favourite campaign – Japanese or otherwise – from the last year? There is a lot of work I like. From the integrated or content category, my favorites are Old Spice Muscle Music, Metro Trains in Australia with Dumb Ways to Die, Newcastle Brown Ale by Droga5, and Sony MAKE TV. In film, Nike No Cup is Safe, and Axe Apollo Fireman and Lifeguard. They are really great pieces of work. Will you be attending Cannes 2013 and, if so, what are you most looking forward to? I will be coming to the festival again and I hope my Sunshine Sakae Chewing-Gum Artist, will do well.
5/4/13 5:33 PM
Enter ENTRY DEADLINE
Champion your agency Now in its fourth year, the Screen Marketing & Distribution Awards honour the outstanding achievements of agencies working with the UK film Industry. There are 22 awards to be won in total â€“ 5 aimed specifically at agencies with expertise in the fields of marketing, promotion and distribution of film. ENTER NOW and take this opportunity to be celebrated by the global film industry.
AGENCY CATEGORIES Creative Agency of the Year Brand Partnership of the Year NEW Media Planning Agency of the Year NEW Online Campaign of the Year NEW VOD Campaign of the Year NEW
Screen Awards 2013
30th October 2013 l Park Plaza Riverbank, London Category sponsors
Screen Awards Advert FP_forShotMagazine_150513.indd 4
| Cannes Special 117
cannes contenders 1
1/2/3 Dumb Ways to Die 4 V Motion Project 5 Guardian, Thatcher 6 SPCA Driving Dogs
Australia & NEW ZEALAND
Creative chairman and partner, Droga5 Sydney
How creatively successful have the past 12 months been in Australia? It would be nice to think that the tougher Australia’s business climate gets, the more we see brave, game-changing ideas pop up. Nice, but clearly naive. Instead, the past 12 months have seen our dollar strengthen, exports weaken, consumer confidence flatten and, sadly, a distinct shrinking of creative ambition/nuts. There are exceptions, but less than you’d hope for. What pieces of Australian work have impressed you most recently and why? This climate makes unexpected flashes of genius all the more enjoyable. No one here was expecting a brief for local trains to sprout a three-minute video that more than 40 million people downloaded. If I’m honest, we probably weren’t expecting it from McCann Melbourne, either. But that’s what they did, with Dumb Ways To Die, so hats off. What are the main barriers to creativity in Australia at the moment? The problem in Australia is that so much of mainstream media debate is dominated by a search to articulate the ‘new voice of Australian culture’. Paul Hogan it clearly isn’t. But until we nail what it is, our collective advertising voice invariably speaks with an English or American accent. What is the biggest lesson you’ve learned since Cannes 2012? Avoid premature celebrations! What has been the biggest industry talking point in Australia this past year? To be honest, we haven’t done a lot of talking as an industry recently. Most of us, I suspect, have been focused on defending our territories and making sure our best ideas survive another 24 hours. I guess ‘dramatising data’ has come up as the trendy thing to drop into conversation at client lunches, though I prefer mumbling through the wine list.
SH143_p95-120_ Cannes.indd 117
And what do you think the biggest talking point of the next 12 months will be? Given we’re having a general election in September, I guess we’ll all be watching to see if the new government is media-friendly or not. Given we have Australia’s biggest retailer, biggest airline and biggest telco as clients, that’s no joking matter. What’s been your favourite campaign – Australian or otherwise – from the past year? Every time I ever get asked this question, I just go blank. For me, great ideas are like great meals; it’s all about how they attach themselves to the moment you’re in. The Guardian’s Three Little Pigs was genius the day I saw it, because of the context of that week, as was its Marmite Thatcher ad, for the same reason. Creatively, we have to stay in the moment, or we’ll miss what’s right in front of us. Will you be attending Cannes 2013 and, if so, what are you most looking forward to? Yes, I’ll be there. It’s been a couple of years, so it’s high time I cranked up the Montecristo No 2.
Andy Fackrell Executive creative director, DDB New Zealand
YWCA Demand Equal Pay From here at DDB (I think I’m allowed to say nice things about this). An integrated campaign that tracks a less obvious way into the issue of unequal pay for women – by charging men 10 per cent more for everything. Hutchwilco Secret Fishing Spots Another DDB job, this is based on a very real truth, that while boaties follow all the safety rules, fishermen hate telling anyone where they head off to. One of only three apps to make it to D&AD in digital. Apps should be useful, and this one saves lives. V Motion Project. A cool blend of technology, graphics and interactivity. It’s been very talked about in New Zealand. Prime TV Secret Diary of a Call Girl This should make judging radio less of a chore. It’s a great idea that uses the medium better than anything else I’ve heard in a long time. It has everything; PR, sociability, a visual stunt – all wrapped around the formerly derided medium of radio. SPCA Driving Dogs David Letterman used this campaign for his Top Ten list; this may well have been an effective piece of advertising. Fifteen minutes of canine fame.
5/4/13 5:33 PM
118 Cannes Special | cannes contenders BRAZIL
Icaro Doria Executive creative director, Wieden+Kennedy Brazil
How creatively successful have the past 12 months been in Brazil? Pretty successful. There’s so much going on in Brazil right now. Everyone’s eyes are on here due to the World Cup and the Olympic Games. What we hear the most from clients is the word ‘dominate’. Everyone wants to ‘dominate’ Brazil right now… Several brands are taking action to do so, with bigger and bolder initiatives. This generates plenty of creative opportunities for most agencies.
Veronica Beach Head of production, David Sao Paulo
The one thing I am very drawn to and have seen a lot of this year in Brazil is passion and real stories. Brazilians are emotional and sensitive people and it really shines out in their work. They know how to hit the human nerve very naturally and organically.
What pieces of Brazilian work have impressed you most and why? Ogilvy’s work for Dove, where we see women describing themselves to an FBI forensic artist. It’s a very powerful message done tastefully and I applaud that. What are the main barriers to creativity in Brazil at the moment? Time for the concept. Time for producing it. Everyone wants everything yesterday and cheaper. The energy here is unprecedented. Add a little more money and a little more time and the barriers would be gone. I would say that time and money are problems in every market, but compared to markets of the same size, production budgets and timings here are – unfortunately – a small slice of what you find in the US and Europe, for example.
Oi Magical Payphone Magical. A super-clever and magically executed activation and film from NBS Brazil, about surprising little kids with a phone call from Santa at Christmas. What little kid doesn’t want to talk to Santa and then – out of nowhere – have a present appear? They even made it snow in Rio de Janeiro! I had a big smile across my face while watching, and for just a minute I was five again. Coca-Cola Let’s Go Crazy Inspirational. These were all real people who do kind things for others without asking for anything in return. It was a message of hope and inspiration. I want to get on a bike and high-five everyone involved. Directed by Henry-Alex Rubin, the master of doc style, for Ogilvy Brazil.
Leica Soul Raw, emotional, sexy, passionate and terrifying. From F/Nazca Saatchi & Saatchi, it’s the story of a photographer in 1950s Germany, following his and his camera’s journey. Beautifully shot, it launches the new digital camera by Leica that only shoots black and white, with a sensor that does not distinguish colour. Salvation Army 18 de abril: Dia dos Ex-Namorados Cleansing and clever. In Brazil, there is a holiday for everything. This fun spot, produced by Vetor Zero/Lobo for WMcCann, creates a new holiday: “April 18, the Day of Exes”. The animation, mixed with live action, is super. However, the whole point of the spot is that on this day, take what is now useless to you and your past relationship and donate it to others. We all want to toss out the ex’s stuff at some point. Great idea! Dove Real Beauty Sketches Truth. This film from Ogilvy Brazil takes you through the journey of how women perceive themselves as opposed to a stranger’s perception through the pencil sketches of an FBI-trained forensic artist. You won’t finish watching this without getting the chills.
SH143_p95-120_ Cannes.indd 118
What has been the biggest industry talking point in Brazil this past year? Brazil has been talking about Brazil a lot. In different years you’d hear the industry talking about how Argentina was doing better film, how the US is thinking digital, how Europe does design. Well, there have been a lot of discussions about Brazil here in Brazil. Which is great. Several global initiatives are being produced here by Brazilian companies and that has injected a boost of confidence into the industry. What’s been your favourite campaign – Brazilian or otherwise – from the past year? Ragu’s work from BFG9000. It is seriously awesome and I wish I’d done it. I like it so much I’m going to put on my reel.
Jose Miguel Sokoloff President, Lowe and Partners Creative Council and president & CCO of Lowe SSP3 Colombia Dove For Men This spot from Ogilvy Sao Paulo is a funny and engaging way to illustrate the re-emerging strategy of shampoo for men. Lovely hair shots too. BGH Summer Hater What could possibly come next after Del Campo Saatchi & Saatchi’s Dads in Briefs? The answer is this brilliant follow-up where people who can’t stand the summer heat need not be outside.
UTEC Water Generator This billboard from Mayo DraftFCB Peru traps moisture from the air and delivers drinkable water in a desert. Developed by the students at UTEC, it is locally relevant, a strong, useful and lovely idea.
1 Oi, Magical Payphone 2 Dove Real Beauty Sketches 3 BGH Summer Hater 4 UTEC Water Generator 5 Coca-Cola Let’s go Crazy
Ministerio de Defensa, Colombia The Sky Voices Reaching the remaining FARC guerrillas is getting increasingly difficult, and finding a way to broadcast messages directed to them by their demobilised ex-commanders is a challenge that was very well solved in this radio spot from Lowe SSP3. Tedx Ideas that Change the World A beautifully crafted print ad from Ogilvy Argentina that illustrates how TED is about ideas worth spreading.
5/4/13 5:33 PM
120 Cannes Special | cannes contenders ARGENTINA
Ramiro Rodriguez Cohen & Rodrigo Grau
1 Topline, Race 2 BGH, Summer Hater 3 Samsonite, Enjoy Every Second 4 AMIA Jewish Center, Bread of Memory
Executive creative directors, BBDO Argentina
How creatively successful have the past 12 months been in Argentina? It wasn’t a year with a lot of movement in the local market. Economic difficulties made things complicated for investing in advertising, so creativity is needed to minimize the possible damages of this situation. Ideas must work with this in mind, as well as the format, the media channels, the production. This has been the situation for two years, but after every new edition of Cannes, the results in terms of awards continue to be quite good for Argentina. What pieces of Argentinian work have impressed you most and why? Bread of Memory for the AMIA Jewish Center in Buenos Aires and Summer Hater for BGH, basically because of the tone and the production. Is the local economy still having a huge impact on the Argentinian ad scene? Totally. It is the primary condition when starting a project. We try to find a way to get the most potential from an idea, regardless of the resources at our disposal. Are many locals still leaving Argentina to work abroad? Yes. When trying to hold on to creative talent we compete not only with local agencies (highly attractive for producing great work) but also with global agencies that may or may not be attractive in terms of creative delivery, but because of the great economic opportunities they can offer without having to make significant efforts. What’s the biggest lesson you’ve learned since Cannes 2012? Like almost every year, Cannes reaffirms that there is a formula, and that there is no guaranteed winner, and that there are a lot of surprises in each edition. At every Cannes you get something out of every work (awarded or not) that may result in an inspiration in some aspect. What has been the biggest industry talking point in Argentina this past year? This year there were two talking points in Argentina. One was the spot by the national government for the Olympic Games in London, which was shot in the Malvinas (Falkland islands), and all the local and global media repercussions that it generated. Another issue, more recent, that generated a lot of talk in the local industry, was the Schneider’s beer campaign that was taken off the air because of it supposedly misogynist tone. Another reoccurring talking point is agencies’ methods of remuneration. The internet totally changed the industry in terms of new ways of generating and
SH143_p95-120_ Cannes.indd 120
5 Comedy Central, Hawks 6 Nike, Boca Juniors Seismograph
applying ideas, but the remuneration for these ideas continues to be the same as it was when only TV, print and radio existed.
Jones+Tino Directors, Stink
And what do you think the biggest talking point of the next 12 months will be? The remuneration issue will continue to be a recurrent talking point, that’s for sure, particularly when we still have high inflation in Argentina, and the advertisersagencies fees are negotiated once a year. The results at Cannes will certainly be a big part of the discussions that take place immediately afterwards, in July and August.
Cannes predictions are always tricky. Especially in Brazil when so much work comes out at the last minute. Leica Soul Directed by Vellas for F/Nazca Saatchi & Saatchi; beautiful and intense execution. Comedy Central Hawks Created by W+K São Paulo, this is funny and perfectly shot. Dove Sketches A sweet project created by Ogilvy Brazil. A true premise beautifully executed.
What’s been your favourite campaign – Argentinian or otherwise – from the last year? Red Bull Stratos. It’s the clearest demonstration that today you can practically do almost anything.
Blood Donation Center Hemoba My Blood is Red and Black Created by Leo Burnett, an engaging and pop campaign.
Will you be attending Cannes 2013 and, if so, what are you most looking forward to? We’ll be there and hoping some of our work will be recognised by our colleagues. We always go to Cannes with that hope; it is the only way to face a 12-hour flight. We’ll also look for inspiration for new works that renew our hope to face the next 12-hour flight to Cannes next year. S
BGH Summer Hater; Topline Race We envy these spots from our neighbours in Argentina. Samsonite Enjoy Every Second Directed by Norman Bates – whether it wins a Lion or not, we love it.
Nico Pimentel Founder and innovation director, +Castro Argentina
From Argentina I love all the work from Del Campo Saatchi & Saatchi for BGH, including Summer Hater and Tupperware. I also like what BBDO Argentina has done with the Boca Juniors Seismograph for Nike. Beldent Random Music Festival is the project we’ve done this year I like the most. From abroad, I love Old Spice Muscle Music came from Wieden+Kennedy. The other highlights that attracted my attention this year were the community management ideas at the Super Bowl for Oreos and Audi. Advertising in real time.
5/4/13 5:33 PM
radioaktivefilm . ukraineâ€™s largest service company since 1998