Cannes Lions Daily Friday 2011 by Boutique Editions

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LIONS 2011 DAILYNEWS PUBLISHED BY BOUTIQUE EDITIONS - WWW.LIONSDAILYNEWS.COM

FRIDAY, JUNE 24, 2011

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We can take your work just about anywhere. Even Cannes 2012

dŚƌŽƵŐŚ ŽƵƌ ƐƵŝƚĞ ŽĨ ŝŶŶŽǀĂƟǀĞ ƐĞƌǀŝĐĞƐ͕ ǁĞ ĂĚĚƌĞƐƐ ƚŚĞ ŶĞĞĚƐ ŽĨ ƚŚĞ ǁŽƌůĚ͛Ɛ ďƌŝŐŚƚĞƐƚ ĂĚǀĞƌƟƐŝŶŐ ŵŝŶĚƐ ƚŽ ƐŝŵƉůŝĨǇ ĂŶĚ ŽƉƟŵŝǌĞ ǁŽƌŬŇŽǁ ĂŶĚ ĚŝƐƚƌŝďƵƟŽŶ͘ tĞ ŝŶƐƉŝƌĞ ƚŚƌŽƵŐŚ Ă ŐůŽďĂů ĐƌĞĂƟǀĞ ƌĞƐŽƵƌĐĞƐ ĚĂƚĂďĂƐĞ ƵƐĞĚ ďǇ ŽǀĞƌ ϱϬ͕ϬϬϬ ƉŽƚĞŶƟĂů 'ƌĂŶĚ Wƌŝǆ ǁŝŶŶĞƌƐ ĞǀĞƌǇ ǇĞĂƌ͘ tĞ ƐŚŽǁ ǇŽƵ ŚŽǁ ƚŽ ŝŶĐŽƌƉŽƌĂƚĞ ƌŝĐŚ ŵĞĚŝĂ ĂŶĚ ĚŝŐŝƚĂů ƉĞƌƐƉĞĐƟǀĞƐ ŝŶƚŽ ǇŽƵƌ ĐĂŵƉĂŝŐŶ ŵŝǆ͘

ƚŚĞ ǁŽƌůĚ͕ ƵƟůŝǌŝŶŐ ƚŚĞ ŝŶĚƵƐƚƌǇ͛Ɛ ŵŽƐƚ ǀĞƌƐĂƟůĞ͕ ŵŽƐƚ ƌĞůŝĂďůĞ ŶĞƚǁŽƌŬ͘ tĞ ƚƌĂŶƐĨŽƌŵ ǇŽƵƌ ĐƌĞĂƟǀĞ ĂƐƐĞƚƐ ŝŶƚŽ ĂŶ ĞīĞĐƟǀĞ͕ ƚƌĂŶƐƉĂƌĞŶƚ ƐǇƐƚĞŵ ĨŽƌ ƌĞǀŝĞǁ͕ ĂƌĐŚŝǀŝŶŐ ĂŶĚ ƌĞĨĞƌĞŶĐĞ͘ ^Ž ůĞƚ ƵƐ ŚĞůƉ ǇŽƵ ƚĂŬĞ ǇŽƵƌ ĂǁĂƌĚͲǁŽƌƚŚǇ ǁŽƌŬ even ĨƵƌƚŚĞƌ͘ /ŶĐůƵĚŝŶŐ ĂŶŶĞƐ ϮϬϭϮ͘

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glo ba l tĞůĐŽŵĞ ƚŽ ƚŚĞ ǁŽƌůĚ ŽĨ '͘

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LIONS 2011 DAILYNEWS PUBLISHED BY BOUTIQUE EDITIONS - WWW.LIONSDAILYNEWS.COM

TODAY’S SEMINARS

09.30 FORD PRESENTS: WHEN TO LET GO OF THE BRAND A look at the client’s role as creative coach in the new people-powered reality 10.30 PUBLICIS & CONTAGIOUS PRESENT: THE FIVE PER CENT CLUB: RISK AND REWARD AS CHANGE CONTINUES Learn about the brands and agencies that are diverting energy and resources into uncovering new opportunities and collaborative cultures 11.30 UNILEVER PRESENTS: NEW BUSINESS MODELS FOR A NEW ERA OF MARKETING Paul Polman and Keith Weed tackle the big issues: Asia’s rapid development, the growing power of the consumer and the urgent need for more sustainable consumption 12.30 THE CANNES DEBATE Sir Martin Sorrell talks to James Murdoch and Jeffrey Katzenberg 13.45 GREY PRESENTS: 5TH GREY MUSIC LEGENDS SEMINAR Patti Smith talks to Tim Mellors 14.45 PUBLICIS GROUPE PRESENTS: MAURICE LEVY TALKS TO THE NESTLE CEO Nestle’s Paul Bulcke shares his views on the future direction of communications 15.45 BBH PRESENTS: GROWTH NEEDS SPACE Sir John Hegarty examines the change in approach needed to generate and accelerate brand growth

Hegarty tells marketers how to raise their game IN TODAY’s world, brands must grow not by 3%-5%, but by 8%10%, according to Sir John Hegarty, founder and worldwide creative director of BBH — and this is pressurising marketers to rethink their tried-andtrusted strategies in order to generate exponential rather than incremental growth. Speaking ahead of his seminar this afternoon, Growth Needs Space, Hegarty said: “Brands have to develop new kinds of thinking to grow into the space that’s going to give them 8%-10% growth. You could say this is a creative issue. It’s not. It’s a business requirement. And if marketing doesn’t step up to the plate, it will find itself in serious trouble, because it has to provide the strategies that can deliver this growth.” A brand that has got it right, Hegarty said, is Apple: “Why has Apple overtaken Nokia? It’s because they have created a different

Sir John Hegarty

kind of product. They have grown their devices into a different kind of space.” Hegarty — a man accustomed to getting it right himself — will be presented with the inaugural Lion Of St Mark award at tomorrow’s Awards Ceremony, in recognition of his outstanding contribution to advertising. It is the

latest honour in a long list of professional, academic and state accolades but, he said, no less pleasing for that. “And to be the initial person winning the award is an added honour.” As to the piece of work of which Hegarty is the most proud, the BBH chief passes over the obvious suspects — Nick Kamen in Levis; Voorsprung Durch Technik for Audi — in favour of a campaign for the UK crisp brand Phileas Fogg. “They were made in a place called Consett in County Durham,” he said. “We actually admitted to that and had an end line which was: Made In Medomsley Road, Consett, Co Durham. And when United Biscuits bought Phileas Fogg, they had to keep the factory open to go on using the advertising. So our advertising kept that factory open and those people employed. I’m very proud of that.” ^

Creativity to the rescue

16.45 AKQA FUTURE LIONS AWARDS Meet the industry’s next generation of creative stars ALL SEMINARS ARE IN THE DEBUSSY UNLESS INDICATED

Sir Ken Robinson

DAVID Ogilvy believed that advertising was a force for the good, said Tham Khai Meng, Ogilvy & Mather’s worldwide creative director and chairman, worldwide creative council, explaining why the agency decided to launch the Ogilvy & Inspire lecture series. “David Ogilvy was a brilliant and inspired educator and a thought leader,” Khai

INSIDE BOX

said at yesterday’s Ogilvy & Mather seminar. “But most importantly, for him, advertising was about much more than selling products. He believed that it could make the world a better place.” Speaker Sir Ken Robinson shares that belief, and has been a tireless campaigner for better education models that will unleash the creativity in people, rather then crushing it — as is the case with the linear, industrial model upon which most teaching methods are based. “The world is changing rapidly and profoundly, and creativity is both responsible for that and the only answer to it,” Robinson said. “David Ogilvy is a great example of the importance of creativity and also why creativity marks us out as being

human.” Robinson also explained why every individual’s life is, in fact, full of creativity: “We create our lives in a way that no other living thing on the planet does. But that same creativity has led us to a precipice, because the nature of the times in which we live is totally without precedent. So much has happened in the decade since I wrote a book called Out Of Our Minds, that when I was asked to refresh it, I ended up re-writing it — because 10 years ago there were no social networks, Google was a novelty and few people had cell phones.” He added: “Digital technology is as big a factor in transforming the world as were the jet engine, the internal-combustion engine and the printing press.” ^

FRIDAY, JUNE 24, 2011

FILM BREACHES THE 30-SECOND BARRIER FOR THE first time in its history, film has been unshackled from its 30-second confines, said Film jury president Tony Granger, global chief creative officer of Y&R. “The good news is that the story is no longer tied to a 30-second time frame,” Granger added. “The bad news is that it’s just as painful to sit through a bad fiveminute film as it is to sit through a bad 30-second film.” Just because a film can be longer, it doesn’t mean that it should be, he cautioned. Granger has asked his 21 jurors “to look for a film that delivers a truth about a product or brand in an unexpected way”. Observing that his jury members are senior people from across the globe, so do not require detailed instructions, he added: “I’ve taken the opportunity to remind them to be fair and that their names will be attached to the outcome.” On the whole, Granger said, “something that is well produced just leaps out at you. You know in five seconds if it’s going to be good or not.”^

Tony Granger

FESTIVAL NEWS P1-13 FILM SHORTLIST P16 CREATIVE EFFECTIVENESS SHORTLIST P31TITANIUM AND INTEGRATED SHORTLIST P31 FOCUS ON LATIN AMERICA P38 FOCUS ON MEXICO P47 FOCUS ON SOUTHERN EUROPE P48 PORTUGAL P55 FILM COMMISSIONS P56 FOCUS ON CENTRAL & EASTERN EUROPE P65

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NEWS

Technology is focus of $million challenge PUBLISHER

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THE LATEST Million Dollar Challenge issued by Miles Nadal, chairman and CEO of MDC Partners, is — unsurprisingly — focused on the technologies revolutionising creativity. He spoke at the end of the MDC Partners & Crispin Porter + Bogusky seminar Five For Five. “If you’ve got a great technology idea, social-media analytics, anything else that will prove the effectiveness of creativity or enhance the effectiveness of marketing communication, bring it to us. Any technology-driven idea, we want to invest in it. We will look at each and every opportunity. If we can find one we will invest $1m, if we can find five we will invest $5m. “We’ve invested $50m in new talent in the last three years and we think it’s really worked very well for us. It’s not a gim-

mick, it’s the real deal.” As if to prove that, last year’s challenge — offering $1m for an outstanding start-up idea — has become a fast-expanding reality. The successful proposal from Kip Voytek, an interactive advertising consultant, was for a Digital Works Institute, to teach digital creativity on a non-profit basis. Nadal told the Lions Daily News that the initial, New York-based school has 40 full-time students and about 200 people in executive programmes. Another two institutes are planned, to be based in North America. “They will probably be larger than the first school,” Nadal said. Entries to the challenge can be submitted at milliondollarchallenge.com, closing date is the end of September, any winner chosen by the end of November. ^

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FRIDAY, JUNE 24,2011

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NEWS

It pays marketers to try every trick in Facebook Egyptian filmmaker and Arab Spring uprising protester Amr Salama: “we shall tweet”

Will people-power force brands to be more responsible? AMR SALAMA, the Egyptian filmmaker who almost lost his life during the Arab Spring uprising earlier this year, had a stark message for global marketers yesterday: “People are now smart. If a corporation is selling something that we don’t need, it will be busted one day.” Salama, who took part in the Egyptian protests that overthrew the Egyptian dictator Hosni Mubarak, was speaking during the JWT session The Power Of The People Is Greater Than The People In Power. When asked about the lessons to learn from the use of social media to end tyrants’ reign, he added: “Some corporations are using the same brainwashing techniques that those governments used to sell their bureaucracy and propaganda. Social media is going to get them

because we shall tweet about it and write about it. That is the power of the people.” American-born but Kuwaitiraised Jehane Noujaim warned brand-owners to select their good causes with care. She cited a Gillette campaign that featured an Arab protester who had lost an eye standing near a Gillette poster. “You have to put yourself in the position of people who have lost friends,” she said. “To use the revolution for branding is tricky.” Winning people’s trust is crucial to a brand’s longevity, added US documentary filmmaker/actor Fisher Stevens. “If a company is polluting the environment while posting ads with ‘green’ messages, I would say that is not friendly,” he said.^

Facebook’s Carolyn Everson

CREATIVITY and original storytelling are crucial when it comes to getting the most out of marketing on Facebook, the world’s biggest social-media network, according to Carolyn Everson, vice-president of global marketing solutions. Speaking at Facebook’s Social By Design seminar, Everson advised brand-owners and agencies to exploit the sharing, connecting, motivating and community-building enabled by the Facebook format. And she invited the Festival’s delegates to take advantage of Facebook’s Sponsored Story format

as the most effective way of reaching the relevant communities among its 500 millionplus registered users. “This is the biggest opportunity for marketers,” Everson said. “You can put consumers at the centre of your message, regardless of the screen. We call that ‘social by design’.” This strategy can kick off with the brand-owner generating a number of “Likes” on its Facebook page, followed by selling the advertising space on that page. With the Sponsored Story, the same marketer posts anecdotes

of experiences that its fans want to share and, according to Everson, this is when Facebook comes into its own. “You can get two to seven times the engagement you get from ads from Sponsored Stories, because the user cares about what their friends are doing.” Everson also quoted some figures portraying Facebook’s rapidly growing reach into people’s lives: worldwide and daily, 15 million people connect with Friends, the site records 50 million page Likes and more than 100 million photographs are uploaded. ^

Technology hits the right note

DR NATHANIEL Kohn and Tom Reichert (far right) have spent the week in Cannes with 23 students from the University Of Georgia. The students are on a Study Abroad Programme as part of their bachelor’s degree in journalism and mass communication. During the visit, the students have attended seminars and workshops, as well as hearing from key agency figures FRIDAY, JUNE 24,2011

TECHNOLOGY is helping to drive an explosion of creativity across a number of areas, and especially in music, delegates heard at McCann Worldgroup & MRM Worldwide’s seminar, Technology And Its Transformation Of Creativity. Producer, entertainer and technology advocate will.i.am said that since the tool he uses to make music is the computer, his relationship with technology is a natural one. “The same chip that allows me to make music also allows me to send it out,” he said. The musician has a partnership with Intel. “Knowing what will.i.am thinks really helps engineers in devising technology that will serve his creativity,” said Johan Jervøe, Intel Corporation’s vice-president of sales and mar-

will.i.am: “natural relationship” with technology

keting group, and director of creative services and digital marketing. Composer, inventor and educator Tod Machover said tools on computers were so powerful a driver to creativity that it was almost best to begin working with ideas away from the computer. “Take your idea for

a walk around the block,” he said. He added: “Music synchronises different parts of the brain and we have found that we can design music that helps us. The last thing that Alzheimer’s patients recognise often is music. We believe ultimately we will be able to customise music to reshape our lives.” ^

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ADOBE Celebrating work that sits above the rest. Adobe is proud to sponsor the first-ever Cannes Creative Effectiveness Lions on Saturday, 25 June. The award recognizes outstanding work that has had a proven impact on a client’s business. We know a successful campaign isn’t just about beautiful creative. That’s why we offer powerful online analytics to optimize its impact. Congratulations to all the finalists.

©2011 Adobe Systems Incorporated. All rights reserved. Adobe and the Adobe logo are trademarks or registered trademarks of Adobe Systems Incorporated in the United States and/or other countries. All other trademarks are the property of their respective owners.

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NEWS

Award winner Schmidt gives sunny outlook from Cannes

Kieran Antill explains Gandhi’s language of unity

Leo Burnett spells out how to communicate LEO BURNETT’s New York office is alpha-betting on the use of language as a creative way to communicate a brand’s message. At The Language Of The 21st Century session on Wednesday, the agency analysed case studies that show how brands can reach their audience by

Mark Tutssel

using language in original ways. The mission was summed up by Mark Tutssel, Leo Burnett Worldwide’s chief creative officer: “Today, we’re speaking with a new type of alphabet. We use [the alphabet] every day when we connect with people. But

are brands keeping up with the conversation?” Michael Canning, Leo Burnett New York’s creative director, explained how it built World of EOS, an online portal, for Canon’s high-end cameras. But instead of using it to drive sales, the portal is building a community of photographers around the brand. “It is for photographers to inspire each other as a community and to focus on the creativity, not the technology,” Canning said. Leo Burnett New York’s chief creative officer, Jay Benjamin, then unveiled plans to hold an exhibition for New York artists. It will centre on the agency’s Letterpress Community and the theme “New York Writes Itself”, both language-focused initiatives. Finally, creative director Kieran Antill illustrated how Leo Burnett is taking its language concept to a new level. It is using the shape of Mahatma Gandhi’s iconic wire-rimmed glasses to create new typefaces and fonts that will to unite the next generation in India’s different regions. ^

ERIC Schmidt, executive chairman of Google, was in typically ebullient mood in forecasting a technology-driven future, when he received the Media Person Of The Year award on Wednesday night. In presenting the award, Phil Thomas, Festival CEO, described Google as the most powerful digital company in the world, and Schmidt’s response might have been summed up as: You ain’t seen nothing yet. “When I started working in advertising, I had no idea it was so interesting and so important to people,” said Schmidt, who soon after saw Google Cre-

ative Lab collect a Cyber Grand Prix. And, peering into the future for Google and the creative industries, he said: “One of the points I am excited about is that this is just the beginning of something extraordinary that will get much larger.” Speaking at Google’s seminar on Internet, Innovation And Immigration, he underlined that positivism in offering advice to creatives: “The best piece of advice I could give is try to say ‘yes’. We tend to find it easy to be negative, but ‘yes’ is how your life evolves. “As an example, we’re here in Cannes, one of the most beautiful places on Earth, but peo-

Eric Schmidt receives the Media Person Of The Year award from Phil Thomas

ple are so filled with worry about their work and their problems. The shift to the cities is an example of a trend that sometimes has negativity attached to it, but in fact it is something that is very positive. The cities are the creative engines of the world. “And another positive trend is the virtual cities that are being created on the internet. The internet is also creating a new demand for transparency in governments and business and other areas. “These are all good trends. The power of yes is driving a new dawn, and the internet is a very big part of that.” ^

Eric Schmidt

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NEWS

It is becoming too serious; it must be lighter, more spontaneous. There has been much discussion of the impact of social networking and consumer involvement in creativity. What are your views? We are at the beginning of a new phenomenon, which will dramatically change society and, by the same token, our world. Either we lead the change or we'll be out. Publicis will lead the change.

Meet Maurice Levy Today sees two Publicis seminars at the Festival, the second of which has CEO Maurice Levy speaking with Nestlé’s CEO Paul Bulcke. Levy spoke to Phil Sommerich ahead of the event Publicis Groupe recently recorded revenue growth rates in excess of those shown by any other major network. To what do you attribute this? We were very pleased to see that not only did we weather the crisis better than any of our competitors (in fact we are getting out of the crisis with a much stronger position than in 2007), but our strategy is paying handsomely. We are growing faster thanks to three criteria: our strong, unique leadership in digital; our incredible talent pool; and great new business performance.

Do you believe we are on an upward trajectory after the

recent economic turbulence? This crisis is not comparable to any other we had in modern times. After the financial crisis, followed by the economic crisis (the most serious since 1929), we had to face the long list of consequences: people laid off, losing their jobs, their houses, their dignity, recession and more recently recovery punctuated by the bad news of sovereign debts. Yes, we are on the upturn but it is fragile one, and everyday news can put a stop to the growth in the western world. Emerging markets are doing well but they also have their own issues to deal with: growing inequality, poverty ... As I'm an optimist, I’m sure that even if we are on a roller-coaster, the trend is up.

Publicis has recently made acquisitions in the US and China. How do you see the group’s international profile developing? The motto at Publicis is ‘Viva la Difference’. I like diversity, I think it is a formidable, enthusiastic representation of the planet we live in and as a French poet said, "de l'uniformité naît l'ennui" (boredom is born out of uniformity). I like the idea that we are diverse, human, different, modern, and that we are at the avant-garde of the advertising agencies group. We will continue on those strengths, which are in line with the evolution of the world.

Your predecessor, the founder of Publicis, stayed in post until he was 80. Do you intend to do the same?

Have there been any trends or issues emerging at the Festival that have attracted your interest? Digital creativity is a concern.

Marcel Bleustein-Blanchet was CEO for 60 years! I wondered if I could match or surpass him and I came to the conclusion that despite the progress of medical research it would be impossible. More seriously, I don't want to stay one year too many. I prefer people saying: “too bad he already left” rather than “it was about time”. ^

Tim Mellors talks to Patti Smith: 5th Grey Cannes Music Legends Seminar 1:45 Debussy Theatre Friday 24th June

Patti Smith, 2007 © Edward Mapplethorpe

FRIDAY, JUNE 24,2011

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NEWS

HELLO FUTURE THE ANNUAL Saatchi & Saatchi New Directors Showcase once again combined stunning on-stage visuals accompanying a performance by DJ Jamie Liddel, with a selection of short films and music videos that demonstrated just how far the art of visual expression has moved in the last 12 months. Hello Future featured films from Mikey Please, Tell No One, Andreas Roth, Robin Goode, Gary Shore and Daniel Wolfe among others.

FRIDAY, JUNE 24,2011

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NEWS

Scarpelli advises Titanium jurors to take broad view TITANIUM and Integrated jury president Bob Scarpelli has asked jurors to remember that the award should reflect the state of the industry and where it is going. “I’ve instructed them to think of this award as a beacon, especially to young creatives, of where the industry is going.” Scarpelli, chairman, DDB Worldwide, said the Titanium and Integrated awards were founded on a special premise. “We wanted to step back and recognise ideas that point the way forward. In that sense, we’re looking for bold and brave work that has-

Bob Scarpelli

n’t been done before and that carries across as many media as applicable.” The social media boom has opened up a whole new world of creativity, Scarpelli said. “We’re seeing people inventing media in their interaction with customers, and using social media to create events and even movements. “We have the opportunity to award Titanium, one of the most exciting awards ever, at one of the most interesting times ever. It’s a time when young people use technology almost instinctually to create.” ^

TITANIUM AND INTEGRATED JURORS FERNANDA ROMANO, EURO RSCG, BRAZIL “From what I’ve seen so far, I’d like to recommend some rethinking of how the cases are presented. There are a lot of adjectives being thrown around like ‘first ever’, ‘revolutionary’ and ‘took over the world’. To begin with, you only have a few minutes to present the case. I’d rather see facts than adjectives. I’m also seeing a real focus on transparency and realism in the cases being presented”

PABLO DEL CAMPO, DEL CAMPO NAZCA SAATCHI & SAATCHI, ARGENTINA “I think that it is important to reorganise the category so that the big idea is presented first. I’m seeing three problems: the idea doesn’t appear until the middle of the case study, or it’s very good but the presentation is weak, or the presentation is good but the idea is weak. There appears to be a fair amount of redundancy and I guess my feeling so far is that the entries are losing their simplicity” LINUS KARLSSON, TAXI, USA “From what I’ve seen so far, the concept of trying to marry technology with real-life experiences is really a trend. So clearly the award-winning The Fun Theory for Volkswagon Sweden made a huge impact last year. I’m also seeing that technology is making things a lot more democratic, and there are many more entries with big ideas coming from smaller markets. But I’m also seeing way too much about the awesomeness of technology. Some work is so much about technology that the idea is forgotten” FRIDAY, JUNE 24,2011

Cheil Worldwide’s Do-hoon Lee left:, Bruce Haines, Won-koo Huh and Jaewook Nam

Cheil says historic Grand Prix win is victory for truth SOUTH KOREA’s largest advertising agency, Cheil Worldwide, in winning the country’s first Grand Prix ever has sent a message to creatives around the world to be true to yourself and your market. That is the word from Bruce Haines, global chief strategy officer for Cheil Worldwide. Cheil won the Media Grand Prix for best use of outdoor for its Homeplus Subway Virtual Store entry for Tesco, as well as four Gold Lions. Haines said the Tesco campaign represented a new confidence in Korean creativity. He added: “In looking at the Korean ad agency in the recent past, I’d say it always felt it had to learn from other markets. That meant, to a degree, that a lot of work that came out Korea

was derivative, and juries may have felt that what they were seeing was something that wasn’t original.” The Tesco campaign, he said, “is a brilliant combination of Korean thinking, Korean technology and answering a particularly Korean problem. In that, it has an honesty that can be related to on a global level. “What I love about the four Gold wins is that there were different juries —Outdoor, Direct and Media — all coming from different points of view but all agreed it was an outstanding piece of work.” The wins “will give enormous confidence to Korean creatives that they don’t have to look to Western markets or Japan for creative leadership.” ^

Max Ahlborn (left) and Petter Westlund: define greatness

B-Reel maps out the route for creating digital winners IMAGINE being asked to test drive the car of your dreams, any time, from anywhere, in real time, via your computer keyboard. Not only did B-Reel, the US production company, make that a reality for a Mitsubishi LiveDrive car campaign last autumn, but it also plans to use similar campaigns to show, at the Digital Schmigital For 2012 session on Saturday, how production companies need to evolve in the digital age.Using GPS and robotics technologies, B-Reel enabled consumers to try out Mitsubishi’s car using their keyboards’ arrows during the 10-day campaign by ad agency 180 Los Angeles.

“We want our panelists to define what they believe is a great piece of work in the digital space, and to explain what it takes to sustain that quality repeatedly,” said Petter Westlund, creative director at B-Reel. “Digital is any kind of interactive experience, and advertising agencies need to know what is possible before they can present those ideas to their clients,” added Max Ahlborn, B-Reel’s executive producer. B-Reel is the production company behind Cyber Grand Prix winner The Wilderness Downtown, an interactive music video produced in collaboration with Google Creative Lab and director Chris Milk.^

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D6-12-13+DBAF:Lions 23/06/11 17:22 Page12

NEWS

Chinaâ&#x20AC;&#x2122;s first Grand Prix came from the Samsonite ad in Press, and the team from JWT Shanghai are there to collect it

DESIGN, PRESS & CYBER

Yasuharu Sasaki, left, executive creative director at Dentsu, and camerawielding planner Shinsaku Ogawa receive Cyber Gold for their Uniqlo work

There was a special glow in the Grand Auditorium on Wednesday night, with 62 Gold Lions and five Grands Prix to be collected, plus a sports award

Leif Abraham, associate creative director at R/GA New York, receives a Grand Prix from Cyber jury president Nick Law for the Pay With A Tweet campaign

The Wieden+Kennedy team has almost lived on the Grand Auditorium stage this week collecting awards for the Old Spice campaign, and are there once again to collect a Cyber Grand Prix

Patricia Paetzold, group creative director, scored double Gold (in Cyber and Design) and a Cyber Silver for Kempertrautmann, Hamburg, with the aptly named Wall Of Fame ad for Edding pens

FRIDAY, JUNE 24,2011

One of several awards for China â&#x20AC;&#x201D; Aywei Wong, head of production at Ogilvy Shanghai, receives Gold from Design jury president Luciano Deos for a campaign against spitting in the streets

Susan Lilley, of USA Today, receives the Design Grand Prix on behalf Digital Kitchen Chicago, from Luciano Deos for The Cosmopolitan Digital Experience

Sebastian Hardieck, chief creative officer at BBDO Germany, collects Gold from Design jury president Luciano Deos for Interactive Coal-Gate

D6-12-13+DBAF:Lions 23/06/11 17:23 Page13

NEWS

A Cyber Grand Prix for Google Creative Lab team Ben Tricklebank, left, Ricardo â&#x20AC;&#x2DC;Mr Doobâ&#x20AC;&#x2122; Carbello and Aaron Koblin for their music video The Wilderness Downtown

Margaret Keene (left) and Tanya LeSieur, of Saatchi & Saatchi LA, receive a Gold Lion from Cyber jury president Nick Law for Prius Goes Plural Into Web

Kerstin Correll, Timm Weber and Thomas Schmiegel of Grabarz & Partner, Hamburg, win Gold for their Volkswagen Press campaign

Eugene Cheong, of Ogilvy & Mather Japan, receives a Gold Lion for Chemical Reaction from Design jury president Luciano Deos

The Brazilians still display enough energy to collect their medals after winning the Lions beach football competition

Witty use of animated balloons in an MTV spot won Gold for Dulcidio Caldeira, left, and Guga Ketzer from Loducca, Brazil, presented by Luciano Deos

Shahir Zag, chief creative officer, and Nadine Ghossoub, managing director, reckon they have made Y&R Dubai the most successful Middle East agency ever at Cannes after picking up Press Gold

The Force is with the Deutsch Inc Los Angeles team: Cyber Gold for the Darth Vader Volkswagen campaign

FRIDAY, JUNE 24,2011

D6-AD:Layout 1 23/06/11 16:58 Page 14

Communication, Marketing and Media in Brazil

For over For over 30 years years Meio M & Mensagem has been the lleading eading publication publication in the communication, communication, marketing industry Brazil. mark eting and media dia indus try in Br azil. With a multiplatform multiplatf orm operation, operration, Meio & Mensagem is important rresponsible esponsible for for the most most import ant events events in the sector, well the sect or, as w ell as th he lleading eading weekly weeklly magazine and d mostt visit visited website the mos ed w e ebsit e in the industry. industry. It also significant has a signific ant presence presence in mobile, mobile, radio radio and TV. TV V.. This yyear, ear, in Cannes, Canness, Meio & Mensagem is llaunching aunching Brazil describing its Br azil Briefing special edition, d escribing the the current economic curr ent Brazilian Brazilian e conomic scenario scenario and its impact ct in the ccommunications ommunicatiions industry. industryy. free Sign up ffor or fr ee weekly weeklly newsletter newsletter at www.meioemensagem.com.br/brazilbriefing www .meioemensag gem.com.br/brazilbriefing

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FILM SHORTLIST

CAT

TITLE

ADVERTISER

PRODUCT

ADVERTISING AGENCY

PRODUCTION COMPANY

COUNTRY

CAMPOFRIO FOUR N TWENTY HEINZ ARLA ARLA KRAFT UNILEVER

PAVOFRIO SLICED TURKEY LEGENDARY ANGUS MEAT PIES SOUPS CRAVENDALE MILK LURPAK BUTTER ATHENOS HUMMUS I CAN’T BELIEVE IT’S NOT BUTTER

MCCANN ERICKSON MADRID CLEMENGER BBDO MELBOURNE AMV.BBDO LONDON WIEDEN+KENNEDY LONDON WIEDEN+KENNEDY LONDON DROGA5 NEW YORK MCCANN LONDON LONDON

SOPA DE TORO MADRID PRODIGY MELBOURNE RATTLING STICK LONDON SMITH & JONES FILMS NORTH HOLLYWOOD/MPC LONDON STINK/FRAMESTORE/THE MILL LONDON LONDON PARK PIC. NY/CENTRAL ATHENS FILM PROD HSI LONDON

SPAIN AUSTRALIA UK UK UK USA UK

KRAFT KRAFT KRAFT KRAFT WRIGLEY MARS CHOCOLATE NORTH AMERICA WARBURTONS MARS CHOCOLATE NORTH AMERICA MARS CHOCOLATE NORTH AMERICA WRIGLEY WRIGLEY WRIGLEY WRIGLEY WRIGLEY

WHEAT THINS WHEAT THINS WHEAT THINS WHEAT THINS ECLIPSE INTENSE MINTS SNICKERS PEANUT BUTTER SQUARED TOASTIE/FARMHOUSE BREAD SNICKERS CHOCOLATE BAR SNICKERS CHOCOLATE BAR SKITTLES SWEETS SKITTLES SWEETS STARBURST SWEETS SKITTLES SWEETS SKITTLES SWEETS

THE ESCAPE POD CHICAGO THE ESCAPE POD CHICAGO THE ESCAPE POD CHICAGO THE ESCAPE POD CHICAGO DDB SYDNEY BBDO NEW YORK RAINEY KELLY CAMPBELL ROALFE/Y&R LONDON BBDO NEW YORK BBDO NEW YORK TBWA\CHIAT\DAY NEW YORK TBWA\CHIAT\DAY NEW YORK TBWA\CHIAT\DAY NEW YORK TBWA\CHIAT\DAY NEW YORK TBWA\CHIAT\DAY NEW YORK

SMUGGLER HOLLYWOOD STATION FILM NEW YORK STATION FILM NEW YORK SMUGGLER HOLLYWOOD FINCH SYDNEY O POSITIVE FILMS NEW YORK GORGEOUS LONDON/PIONEER PRODUCTIONS BUDAPEST O POSITIVE FILMS NEW YORK O POSITIVE FILMS NEW YORK SMITH AND JONES LONDON SMITH AND JONES LONDON HUNGRY MAN NEW YORK SMITH AND JONES FILMS NORTH HOLLYWOOD SMITH AND JONES FILMS NORTH HOLLYWOOD

USA USA USA USA AUSTRALIA USA UK USA USA USA USA USA USA USA

NIHON SHURUI HANBAI HEINEKEN CARLTON UNITED BREWERIES HEINEKEN HEINEKEN HEINEKEN UK FOSTERS GROUP FOSTERS GROUP ANHEUSER-BUSCH INBEV ANHEUSER-BUSCH INBEV DB BREWERIES MAGNERS MAGNERS

NICOLAS FEUILLATTE CHAMPAGNE JOHN SMITH’S VB BEER HEINEKEN HEINEKEN KRONENBOURG 1664 CARLTON DRAUGHT CARLTON NATURAL NORTE BEER NORTE BEER DB EXPORT BEER MAGNERS GOLDEN DRAUGHT CIDER MAGNERS ORIGINAL CIDER

DENTSU TOKYO TBWA\LONDON DROGA5 SYDNEY WIEDEN+KENNEDY AMSTERDAM WIEDEN+KENNEDY AMSTERDAM BBH LONDON CLEMENGER BBDO MELBOURNE CLEMENGER BBDO MELBOURNE DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES COLENSO BBDO AUCKLAND THE RED BRICK ROAD LONDON THE RED BRICK ROAD LONDON

DENTSU CREATIVE X TOKYO RATTLING STICK LONDON REVOLVER SYDNEY SONNY LONDON SONNY LONDON PULSE FILMS LONDON PLAZA FILMS SYDNEY REVOLVER SYDNEY PRIMO BUENOS AIRES PRIMO BUENOS AIRES REVOLVER SYDNEY STINK LONDON/CHEROKEE FILMS AUCKLAND STINK LONDON/CHEROKEE FILMS AUCKLAND

JAPAN UK AUSTRALIA NETHERLANDS NETHERLANDS UK AUSTRALIA AUSTRALIA ARGENTINA ARGENTINA NEW ZEALAND UK UK

BRITVIC COCA-COLA PEPSICO EVIAN GLOBALBEV BEBIDAS E ALIMENTOS

DRENCH DRINK COCA-COLA H2OH! DRINK EVIAN FLYING HORSE ENERGY DRINK

CHI & PARTNERS LONDON WIEDEN+KENNEDY PORTLAND BBDO ARGENTINA BUENOS AIRES BETC EURO RSCG PARIS OGILVY BRASIL SÃO PAULO

SMITH AND JONES LONDON NEXUS PRODUCTIONS LONDON ARGENTINACINE BUENOS AIRES WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX PARANOIDBR SÃO PAULO

UK UK ARGENTINA FRANCE BRAZIL

FEBREZE FEBREZE FEBREZE PROCTER & GAMBLE

DEODORISING SPRAY DEODORISING SPRAY DEODORISING SPRAY AYUDIN WASHING UP LIQUID

GREY NEW YORK GREY NEW YORK GREY NEW YORK GREY ARGENTINA BUENOS AIRES

STATION FILM NEW YORK STATION FILM NEW YORK STATION FILM NEW YORK REBOLUCION BUENOS AIRES

USA USA USA ARGENTINA

SELLEYS

ADHESIVE, SEALANT & GAP FILLER

BELGIOVANE WILLIAMS MACKAY ULTIMO

GOODOIL FILMS SYDNEY

AUSTRALIA

CENTRINO CLEANCONTROL M2881 AIR CONDITIONERS AIR CONDITIONERS AIR CONDITIONERS

ANDREAS ROTH LUDWIGSBURG DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES

FILMAKADEMIE BADEN-WÜRTTEMBERG LUDWIGSBURG PELUCA FILMS BUENOS AIRES PELUCA FILMS BUENOS AIRES PELUCA FILMS BUENOS AIRES

GERMANY ARGENTINA ARGENTINA ARGENTINA

SAVOURY FOODS A01/020 A01/029 A01/050 A01/051 A01/052 A01/081 A01/083

DOLLS LEGENDARY ANGUS HAPPY BIRTHDAY CATS WITH THUMBS KITCHEN ODYSSEY PARTY ‘I CAN’T BELIEVE IT’S NOT BUTTER’

SWEET FOODS & SNACKS A02/001 A02/002 A02/003 A02/004 A02/076 A02/116 A02/129 A02/130 A02/131 A02/133 A02/134 A02/138 A02/139 A02/140

TABITHA DEREK ADAM CHRIS ICE BOOTH FOCUS GROUP CELEBRATION LOGGING PARTY DOOR BORROW BUS FIST FLY

ALCOHOLIC DRINKS A03/002 A03/005 A03/017 A03/033 A03/034 A03/035 A03/047 A03/049 A03/054 A03/055 A03/064 A03/070 A03/071

TOAST MEN DOG SHOW CRY ENTRANCE DATE SLOW THE PACE SLO MO TORTOISE PRESENTATION DVD BEER - THE UNTOLD STORY STRONGMAN BEES

NON-ALCOHOLIC DRINKS A04/018 A04/035 A04/052 A04/060 A04/084

CUBEHEAD SIEGE BRAIDS BABY INSIDE GO GO GO

HOUSEHOLD: CLEANING PRODUCTS A05/015 A05/016 A05/018 A05/026

SUSAN AND ERICA RESTAURANT HOTEL SAUSAGEFLAN

HOUSEHOLD: OTHER A06/017

3 IN 1

HOME APPLIANCES & FURNISHINGS A07/016 A07/024 A07/025 A07/026

EXORCIST NOSE-O-METER NOSE JOB GIGANTIC NOSE

FRIDAY, JUNE 24,2011

DIRT DEVIL BGH BGH BGH

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16-29 Film ShortlistBAF:25•01 front 23/06/11 20:57 Page 19

FILM SHORTLIST 19

CAT

TITLE

ADVERTISER

PRODUCT

ADVERTISING AGENCY

PRODUCTION COMPANY

A07/032

SANTEC PRISON

SANYO VIDEO VERTRIEB

SANTEC VIDEO SURVEILLANCE

SERVICEPLAN MUNICH

COBBLESTONE FILMPRODUCTION HAMBURG

COUNTRY GERMANY

A07/035

MR. COCKTAIL

CONFORAMA

HOME FURNISHINGS

DRAFTFCB LEVALLOIS-PERRET

BANDITS PARIS

FRANCE

A07/051

MOSQUITO

STROY MASTER

SOUNDPROOF WINDOWS

BBDO RUSSIA GROUP MOSCOW

BALL PARK MOSCOW

RUSSIA

COSMETICS & BEAUTY A08/003

BOAT

OLD SPICE

BODY WASH

WIEDEN+KENNEDY PORTLAND

MJZ LOS ANGELES

USA

A08/006

FLEX

OLD SPICE

ODOR BLOCKER BODY WASH

WIEDEN+KENNEDY PORTLAND

ABSOLUTELY PRODUCTIONS LONDON

USA

A08/007

PUNCH

OLD SPICE

ODOR BLOCKER BODY WASH

WIEDEN+KENNEDY PORTLAND

ABSOLUTELY PRODUCTIONS LONDON

USA

A08/008

ZOOM

OLD SPICE

ODOR BLOCKER BODY WASH

WIEDEN+KENNEDY PORTLAND

ABSOLUTELY PRODUCTIONS LONDON

USA

A08/015

HAIRMOTICONS

BRAUN

SATIN HAIR 5 MULTISTYLER

BBDO PROXIMITY DÜSSELDORF

VCC PERFECT PICTURES /DAS WERK DÜSSELDORF

GERMANY

A08/018

SHOWER LIKE A MAN

CEDERROTH

ASAN TRIPLE SHOWER GEL

LOS & CO OSLO

EINAR FILM & FORTELLINGER OSLO

NORWAY

A08/021

DINER

UNILEVER

AXE RISE SHOWER GEL

BBH NEW YORK

B-REEL NEW YORK

USA

A08/022

NOT FOR YOU

PROCTER & GAMBLE

HEAD & SHOULDERS

SAATCHI & SAATCHI NEW YORK

SUPPLY & DEMAND LOS ANGELES

USA

A08/029

SCENT VACATION

PROCTER & GAMBLE

OLD SPICE

WIEDEN+KENNEDY PORTLAND

MJZ LOS ANGELES

USA

A08/039

ZIPPER

UNILEVER

AXE EX-FRIEND BODY SPRAY

PONCE BUENOS AIRES

EPOCH FILMS BEVERLY HILLS

ARGENTINA

A08/040

PREMATURE PERSPIRATION UNILEVER

AXE FULL CONTROL

PONCE BUENOS AIRES

PRIMO BUENOS AIRES

ARGENTINA

A08/041

DISTANCE

AXE FULL CONTROL

PONCE BUENOS AIRES

PRIMO BUENOS AIRES

ARGENTINA

UNILEVER

A08/042

BOWLING

UNILEVER

AXE FULL CONTROL

PONCE BUENOS AIRES

PRIMO BUENOS AIRES

ARGENTINA

A08/043

MOTHER

UNILEVER

AXE FULL CONTROL

PONCE BUENOS AIRES

PRIMO BUENOS AIRES

ARGENTINA

A08/051

AXE ANGELS

AXE

EXCITE BODY SPRAY

BBH LONDON

MJZ LONDON

A08/055

QUESTIONS

OLD SPICE

BODY WASH

WIEDEN+KENNEDY PORTLAND

MJZ LOS ANGELES

USA

TOILETRIES A09/017

CARPET

NOHAIR VEREINTE LASER

PERMANENT HAIR REMOVAL

EURO RSCG DÜSSELDORF

ELEMENT E HAMBURG

GERMANY

A09/028

SOIREE

KIMBERLY-CLARK

HUGGIES LITTLE MOVERS DIAPERS

JWT NEW YORK

MJZ NEW YORK

USA

A09/031

SHARK

PROCTER & GAMBLE

GILLETTE FUSION PROGLIDE RAZOR

BBDO NEW YORK

SUPPLY & DEMAND NEW YORK

USA

PHARMACY A10/005

HIGH SCHOOL

FAMILIPRIX

PHARMACY

LG2 QUÉBEC

QUATRE ZERO UN MONTRÉAL

CANADA

A10/027

BOWLING

PFIZER CANADA

VIAGRA

TAXI TORONTO

GO FILM HOLLYWOOD/STEAM FILMS TORONTO

CANADA

A10/028

GOLF

PFIZER CANADA

VIAGRA

TAXI TORONTO

GO FILM HOLLYWOOD/STEAM FILMS TORONTO

CANADA

A10/029

BAND

PFIZER CANADA

VIAGRA

TAXI TORONTO

GO FILM HOLLYWOOD/STEAM FILMS TORONTO

CANADA

A10/032

TENNIS

BAYER

FITOSONNO SLEEPING TABLETS

JWT ITALIA MILAN

DIAVIVA REGGIO EMILIA

ITALY

A10/036

SENSITIVE ARMPITS

UNILEVER

REXONA SENSITIVE

PONCE BUENOS AIRES

HUNGRY MAN NEW YORK

ARGENTINA

A10/041

CLASSROOM CRAFT

NOVARTIS CONSUMER HEALTH

OTRIVIN NASAL SPRAY

SAATCHI & SAATCHI CAROUGE

THE SWEET SHOP AUCKLAND

SWITZERLAND

A10/042

SHOE LACES

NOVARTIS CONSUMER HEALTH

OTRIVIN NASAL SPRAY

SAATCHI & SAATCHI CAROUGE

THE SWEET SHOP AUCKLAND

SWITZERLAND

A10/046

SANDWICH

JOHNSON & JOHNSON BRAZIL

K-Y

BORGHIERH/LOWE SÃO PAULO

SAGAZ FILMES SÃO PAULO

BRAZIL

CLOTHING, FOOTWEAR & ACCESSORIES A11/002

WOLVES

CARHARTT

CLOTHING

TEAM DETROIT

THE DIRECTORS BUREAU HOLLYWOOD

USA

A11/012

THROWDOWN

NIKE

FREE RUNNING AND TRAINING FOOTWEAR

WIEDEN+KENNEDY PORTLAND

RSA FILMS LOS ANGELES

USA

A11/018

WRITE THE FUTURE

NIKE

NIKE FOOTBALL

WIEDEN+KENNEDY AMSTERDAM

INDEPENDENT LONDON

NETHERLANDS

A11/032

BOOM

NIKE

WIEDEN+KENNEDY PORTLAND

SMUGGLER HOLLYWOOD

USA

A11/051

AFTER HOURS ATHLETE

PUMA

PUMA SOCIAL CLOTHING

DROGA5 NEW YORK

SMUGGLER NEW YORK

USA

MISCELLANEOUS A12/005

GORIGON

SCRIBE

SKETCH BOOKS

BBDO MEXICO

METRO PRODUCCIONES MEXICO CITY

MEXICO

A12/016

LICKS

YARRAH

ORGANIC PET FOOD

PUBLICIS BRUSSELS

MINDBOX ANTWERP

BELGIUM

A12/020

LOVE DECLARATION

BIC AMAZONIA

CRISTAL PEN

BORGHIERH/LOWE SÃO PAULO

DINAMO FILMES SÃO PAULO

BRAZIL

mmmm, delicious juice! Martin Jacobson recommends a can of juice today to get maximum value on your next film shoot in South Africa.

juicefilm.tv production service south africa

FRIDAY, JUNE 24,2011

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16-29 Film ShortlistBAF:25•01 front 23/06/11 20:57 Page 21

FILM SHORTLIST 21

CAT

TITLE

ADVERTISER

PRODUCT

ADVERTISING AGENCY

PRODUCTION COMPANY

COUNTRY

MADE OF MEANER STUFF GOODNIGHT FLOW SUNDAY DRIVER COUNTRY SONATA HYBRID MOUNTAINBIKE FORCE WORD MILK RUN BORN OF FIRE CHALLENGER FREEDOM DIRTY COPS OLD LADY TRANSLATOR CHANGE ROOMS ELECTRIC LIFE PATHOLOGICAL LIAR

SKODA AUDI OF AMERICA MINI/BMW DAIMLER HYUNDAI AUTO CANADA HARALD A. MØLLER VOLKSWAGEN VOLKSWAGEN VOLKSWAGEN CHRYSLER DODGE LAND ROVER PON’S AUTOMOBIELHANDEL VOLKSWAGEN VOLKSWAGEN RENAULT LAND ROVER

FABIA VRS AUDI A8 MINI COUNTRYMAN MERCEDES-BENZ SONATA HYBRID AUDI Q5 VW PASSAT VOLKSWAGEN VW CHRYSLER 200 DODGE CHALLENGER LR4 VW GOLF TIGUAN VW PASSAT ZE LAND ROVER LR4

FALLON LONDON VENABLES BELL & PARTNERS SAN FRANCISCO BSUR AGENCY AMSTERDAM JUNG VON MATT STUTTGART INNOCEAN WORLDWIDE CANADA TORONTO BATES UNITED OSLO DEUTSCH INC. LOS ANGELES DDB SYDNEY DDB GROUP NEW ZEALAND AUCKLAND WIEDEN+KENNEDY PORTLAND WIEDEN+KENNEDY PORTLAND Y&R NEW YORK DDB AMSTERDAM ALMAPBBDO SÃO PAULO DDB SYDNEY PUBLICIS CONSEIL PARIS Y&R NEW YORK

SOMESUCH & CO LONDON EPOCH FILMS BEVERLY HILLS/RATTLING STICK NY/FRAMESTORE LONDON SMUGGLER HOLLYWOOD @RADICAL.MEDIA BERLIN RADKE FILM GROUP TORONTO FREDRIK FICTION OSLO/VIVI FILM BARCELONA PARK PICTURES SANTA MONICA REVOLVER SYDNEY ROBBERS DOG FILM AUCKLAND SERIAL PICTURES CULVER CITY BISCUIT FILMWORKS LOS ANGELES O POSITIVE FILMS NEW YORK CZAR.NL AMSTERDAM FAT BASTARDS SÃO PAULO/MOVIEART SÃO PAOLO THE SWEET SHOP SYDNEY NOSE SAINT-CLOUD O POSITIVE FILMS NEW YORK

UK USA NETHERLANDS GERMANY CANADA NORWAY USA AUSTRALIA NEW ZEALAND USA USA USA NETHERLANDS BRAZIL AUSTRALIA FRANCE USA

ORIGINAL PARTS ORIGINAL PARTS ORIGINAL PARTS ORIGINAL PARTS USED CARS USED CARS

ALMAPBBDO SÃO PAULO ALMAPBBDO SÃO PAULO ALMAPBBDO SÃO PAULO ALMAPBBDO SÃO PAULO LEO BURNETT ARGENTINA BUENOS AIRES LEO BURNETT ARGENTINA BUENOS AIRES

VETOR ZERO/LOBO SÃO PAULO VETOR ZERO/LOBO SÃO PAULO VETOR ZERO/LOBO SÃO PAULO VETOR ZERO/LOBO SÃO PAULO URSULA BUENOS AIRES URSULA BUENOS AIRES

BRAZIL BRAZIL BRAZIL BRAZIL ARGENTINA ARGENTINA

G2-DIGITAL CAMERA CYBER-SHOT CYBER-SHOT WINDOWS PHONE 7 LOGITECH REVUE WITH GOOGLE TV ULTRA LED TV

THE CAMPAIGN PALACE SYDNEY DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES CRISPIN PORTER + BOGUSKY BOULDER GOODBY SILVERSTEIN & PARTNERS SAN FRANCISCO TALENT SÃO PAULO

PRODIGY SYDNEY GARLIC FILMS MADRID GARLIC FILMS MADRID IMPERIAL WOODPECKER SANTA MONICA SMUGGLER HOLLYWOOD PRODIGO FILMS SÃO PAULO

AUSTRALIA ARGENTINA ARGENTINA USA USA BRAZIL

CARS A13/016 A13/026 A13/035 A13/036 A13/054 A13/060 A13/070 A13/101 A13/103 A13/116 A13/117 A13/126 A13/153 A13/161 A13/162 A13/207 A13/208

OTHER VEHICLES, AUTO PRODUCTS & SERVICES A14/028 A14/029 A14/030 A14/031 A14/034 A14/035

I LOVE YOU BOSS SON, YOU’RE ADORABLE IT´S NOT YOU PARTY LOVE STORY

VOLKSWAGEN VOLKSWAGEN VOLKSWAGEN VOLKSWAGEN CAR ONE CAR ONE

HOME ELECTRONICS & AUDIO-VISUAL A15/032 A15/035 A15/036 A15/038 A15/040 A15/061

NO EXPERT EINSTEIN MARILYN REALLY KEVIN BACON FAN THEFT

PANASONIC SONY SONY MICROSOFT LOGITECH TOSHIBA

FRIDAY, JUNE 24,2011

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FILM SHORTLIST 23

CAT

TITLE

ADVERTISER

PRODUCT

ADVERTISING AGENCY

PRODUCTION COMPANY

COUNTRY

IKEA DE BIJENKORF INTERFLORA NETTO RICHMOND OPTOMETRY RICHMOND OPTOMETRY RICHMOND OPTOMETRY DEBENHAMS GAMESTOP RUAM CHAROEN PATTANA CO. EXCLUSIVE BOOKS

HOME FURNISHING DEPARTMENT STORE GIFTS AND FLOWERS SUPERMARKET CHAIN OPTOMETRY OPTOMETRY OPTOMETRY DEPARTMENT STORE RETAIL STORE TOP CHAROEN OPTICAL STORE E MAIL FOR DUMMIES

HJALTELIN STAHL & CO. COPENHAGEN SELMORE CREATIVE AGENCY AMSTERDAM BRANDHOUSE COPENHAGEN BRANDHOUSE COPENHAGEN RED URBAN TORONTO RED URBAN TORONTO RED URBAN TORONTO JWT LONDON LONDON THE RICHARDS GROUP DALLAS JWT BANGKOK OGILVY JOHANNESBURG

PEGASUS PRODUCTION COPENHAGEN CZAR.NL AMSTERDAM MOLAND FILM COMPANY COPENHAGEN TRESHOW FILMPRODUCTION NAERUM UNTITLED FILMS TORONTO UNTITLED FILMS TORONTO UNTITLED FILMS TORONTO BARE FILMS LONDON HUNGRY MAN NEW YORK PHENOMENA BANGKOK JUMP CAPE TOWN

RESTAURANT MCDONALD’S HOT WINGS

DEVITO/VERDI NEW YORK DDB TRIBAL GR. BERLIN/HEYE & PART. UNTERHACHING HAGER MOSS /ARRI FILM & TV SERV. MUNICH NET#WORK BBDO JOHANNESBURG VELOCITY FILMS CAPE TOWN

USA GERMANY SOUTH AFRICA

KYUSHU RAILWAY COMPANY NETTBUSS VIRGIN HOLIDAYS VEGAS CONVENT. & VISITORS AUTHORITY SHANGRI-LA SWITZERLAND TOURISM KAYAK.COM

BULLET TRAIN BUS TRAVEL VIRGIN TRAVEL LAS VEGAS TOURISM TRAVEL AGENCY TOURISM & TRAVEL TRAVEL SITE

DENTSU TOKYO LOS & CO OSLO DARE LONDON R&R PARTNERS LAS VEGAS AGÊNCIA3 RIO DE JANEIRO SPILLMANN/FELSER/LEO BURNETT ZÜRICH BARTON F. GRAF 9000 NEW YORK

ENGINE FILM TOKYO/T & E FUKUOKA SOCIAL CLUB STOCKHOLM PARTIZAN LONDON FUELD FILMS AUSTIN KOMBAT FILMS RIO DE JANEIRO CONDOR FILMS ZÜRICH STATION FILM NEW YORK

JAPAN NORWAY UK USA BRAZIL SWITZERLAND USA

PLANET FITNESS PLANET FITNESS SONY TRISS TRISS ELECTRONIC ARTS ACTIVISION NEW ZEALAND LOTTERIES MELBOURNE WRITERS FESTIVAL CONSULATE GENERAL ARGENTINA IN LA NBA DAIICHI SHOKAI MATTEL FRANCE PMU PMU

GYM GYM PLAYSTATION LOTTERIES LOTTERIES DEAD SPACE 2 GAME CALL OF DUTY BLACK OPS LOTTERY ARTS NEW CINEMA FILM FESTIVAL END OF 2010 NBA SEASON PINBALL MACHINES SCRABBLE ONLINE SPORTS BETTING ONLINE SPORTS BETTING

MULLEN BOSTON MULLEN BOSTON DEL CAMPO NAZCA SAATCHI BUENOS AIRES FORSMAN & BODENFORS STOCKHOLM FORSMAN & BODENFORS GOTHENBURG DRAFTFCB SAN FRANCISCO TBWA\CHIAT\DAY LA LOS ANGELES DDB GROUP NEW ZEALAND AUCKLAND JWT MELBOURNE CONILL SAATCHI & SAATCHI TORRANCE GOODBY SILVERSTEIN & PARTNERS S. FRANCISCO ADK JAPAN TOKYO OGILVY FRANCE PARIS PUBLICIS CONSEIL PARIS PUBLICIS CONSEIL PARIS

HUNGRY MAN LOS ANGELES HUNGRY MAN LOS ANGELES GARLIC FILMS MADRID ACNE PRODUCTION STOCKHOLM ACNE PRODUCTION STOCKHOLM GOON MEDIA LOS ANGELES MJZ LOS ANGELES THE SWEET SHOP AUCKLAND PLUSH FILMS /FLAGSTAFF /DIGITAL PIC. MELBOURNE PARANA FILMS LOS ANGELES GOODBY SILVERSTEIN & PARTNERS S. FRANCISCO TYO PRODUCTIONS TOKYO/MONSTER TOKYO PARANOID PROJECTS PARIS MJZ LOS ANGELES MJZ LOS ANGELES

USA USA ARGENTINA SWEDEN SWEDEN USA USA NEW ZEALAND AUSTRALIA USA USA JAPAN FRANCE FRANCE FRANCE

TV GUIDE NETWORK ESPN ESPN ESPN ESPN ESPN AMOUR AMOUR

CURB YOUR ENTHUSIASM LAUNCH SPORTS CHANNEL SPORTS CHANNEL SPORTSCENTER SPORTSCENTER SPORTSCENTER ADULT TV CHANNEL ADULT TV CHANNEL

STUN CREATIVE LOS ANGELES WIEDEN+KENNEDY NEW YORK WIEDEN+KENNEDY NEW YORK WIEDEN+KENNEDY NEW YORK WIEDEN+KENNEDY NEW YORK WIEDEN+KENNEDY NEW YORK DARE VANCOUVER DARE VANCOUVER

STUN CREATIVE LOS ANGELES EPOCH FILMS NEW YORK EPOCH FILMS NEW YORK O POSITIVE FILMS NEW YORK O POSITIVE FILMS NEW YORK O POSITIVE FILMS NEW YORK IMPORT. ARTISTS FILM COMP. TORONTO/GREEN DOT FILMS S. MONICA IMPORT. ARTISTS FILM COMP. TORONTO/GREEN DOT FILMS S. MONICA

USA USA USA USA USA USA CANADA CANADA

RETAIL STORES A16/011 A16/039 A16/066 A16/068 A16/077 A16/078 A16/079 A16/087 A16/107 A16/117 A16/119

THE-HI-SWEETIE-UNCLE-BOB-IS-GOING-TO… ANTI-RIOT SQUAD WHITE HORSE TELEMARKETER EYE DROPS BUCK HOSE MUMS YAY BALLROOM CHAIN MAIL

DENMARK NETHERLANDS DENMARK DENMARK CANADA CANADA CANADA UK USA THAILAND SOUTH AFRICA

RESTAURANTS & FAST FOOD OUTLETS A17/028 BIRDS A17/033 PACKAGE A17/050 RETURN OF THE CRAVING

LEGAL SEA FOODS MCDONALD’S CHICKEN LICKEN

TRAVEL, TRANSPORT & TOURISM A18/026 A18/027 A18/028 A18/043 A18/046 A18/055 A18/065

THE 250KM WAVE WHOEVER YOU ARE ROCKSTAR SERVICE TOUGH QUESTIONS CHANGES SWITZERLAND - MORE THAN MOUNTAINS FRANK

ENTERTAINMENT & LEISURE A19/063 A19/065 A19/104 A19/106 A19/107 A19/108 A19/109 A19/117 A19/125 A19/131 A19/132 A19/145 A19/149 A19/173 A19/174

APPLICATION LIFT THINGS UP VICTOR PROPOSAL PROPOSAL 2 YOUR MOM HATES DEAD SPACE 2 THERE IS A SOLDIER IN ALL OF US LUCKY DOG WRITER’S BLOCK LINEUP HUGS LANE 1 (THE DAI-ICHI COURSE) BLOCK PROJECT HAKA TENNIS

PUBLICATIONS & MEDIA A20/006 A20/014 A20/015 A20/019 A20/020 A20/021 A20/032 A20/034

INTERVIEW JOCKS ALOHA ALABAMA SPY - OVECHKIN OCTAGON - ST. PIERRE COPIER - LANDON DONOVAN GIRL 1 HOT TUB

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CAT

TITLE

ADVERTISER

PRODUCT

A20/035 A20/052 A20/053 A20/093 A20/107 A20/113 A20/136 A20/153 A20/154 A20/155 A20/156

SHAKESPEARE BEST DIRECTING BESTACTRESS IN A SUPPORTING ROLE IPHONE TEAM HOYT DEVIL’S DROP BALLOONS YACHT UNDERDOG HOSPITAL BIRDS

AMOUR CANAL+ CANAL+ CANAL + TV3 TBS MTV HBO HBO HBO FRANCE 24

ADULT ENTERTAINMENT DARE VANCOUVER OSCARS CEREMONY COVERAGE EL LABORATORIO MADRID OSCARS CEREMONY COVERAGE EL LABORATORIO MADRID TV CHANNEL BETC EURO RSCG PARIS SPINAL CORD & BRAIN INJURYTELETHON BASSAT OGILVY BARCELONA CONAN MTV LODUCCA SAO PAULO HBO GO BBDO NEW YORK HBO GO BBDO NEW YORK HBO GO BBDO NEW YORK INTERNATIONAL NEWS NETWORK MARCEL PARIS

ADVERTISING AGENCY

PRODUCTION COMPANY IMPORT. ARTISTS FILM COMP. TORONTO/GREEN DOT FILMS S. MONICA VERTICE 360 MADRID VERTICE 360 MADRID MOONWALK FILMS PARIS OVIDEO BARCELONA HUNGRY MAN NEW YORK PARANOIDBR SÃO PAULO/RAW PROD.DE AUDIO SÃO PAULO MJZ NEW YORK MJZ NEW YORK MJZ NEW YORK MR HYDE PARIS

COUNTRY CANADA SPAIN SPAIN FRANCE SPAIN USA BRAZIL USA USA USA FRANCE

BANK HEALTH INSURANCE SRISAWAD TRANSPORT LOAN SRISAWAD TRANSPORT LOAN INSURANCE INSURANCE BANK ASSET MANAGEMENT INSURANCE INSURANCE HOME INSURANCE CAR INSURANCE AMERICAN EXPRESS HEALTH INSURANCE BANKING INSURANCE AMIS INSURANCE

TDA_BOULDER BOULDER MEERKATS PERTH GENESIS 12 BANGKOK CFG SERVICES BANGKOK THE MARTIN AGENCY RICHMOND THE MARTIN AGENCY RICHMOND OGILVY & MATHER TAIWAN TAIPEI MARCEL PARIS LEO BURNETT CHICAGO LEO BURNETT CHICAGO STEPHENS FRANCIS WHITSON LONDON STEPHENS FRANCIS WHITSON LONDON OGILVY & MATHER NEW YORK GEORGE PATTERSON Y&R MELBOURNE OGILVY&MATHER KIEV/OGILVY&MATHER BUDAPEST DDB AMSTERDAM OGILVY MEXICO

MJZ LOS ANGELES FLYING FISH SYDNEY PHENOMENA BANGKOK PHENOMENA BANGKOK MOXIE PICTURES LOS ANGELES MOXIE PICTURES LOS ANGELES PHENOMENA BANGKOK WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX EPOCH FILMS BEVERLY HILLS/MASSMARKET NY/ANOTHER COUNTRY CHICAGO EPOCH FILMS BEVERLY HILLS/MASSMARKET NY/ANOTHER COUNTRY CHICAGO ACADEMY LONDON ACADEMY LONDON HUNGRY MAN NEW YORK EXIT FILMS MELBOURNE FEEL FILMS LONDON/SAUNA INTERNATIONAL LONDON CZAR.NL AMSTERDAM CENTRAL FILMS MEXICO CITY

USA AUSTRALIA THAILAND THAILAND USA USA CHINESE TAIPEI FRANCE USA USA UK UK USA AUSTRALIA UKRAINE NETHERLANDS MEXICO

NORTON INTERNET SECURITY NON-RUSH SHIPPING FILM AWARDS FESTIVAL FEDEX INTERNAT. DOC. FESTIVALAMSTERDAM

LEO BURNETT/ARC WORLDWIDE CHICAGO BBDO CANADA TORONTO KARLOVY VARY PRAGUE BBDO NEW YORK TBWA\NEBOKO AMSTERDAM

HSI PROD. CULVER CITY/HUMAN S. MONICA/ANOTHER COUNTRY CHICAGO OPC TORONTO/PROXIMITY CANADA STINK LONDON O POSITIVE FILMS NEW YORK 25FPS AMSTERDAM

USA CANADA UK USA NETHERLANDS

MOBILE PHONE CHROME BROWSER INTERNET SERVICE SATELLITE TV SATELLITE TV CLARO SMARTPHONES LANGUAGE CLASS TELECOMMUNICATIONS EMBRATEL BERLITZ LANGUAGE CENTER BERLITZ LANGUAGE CENTER VIDEO CALL SERVICE AT&T GOOGLE INSTANT SEARCH

DRILL TOKYO/DENTSU TOKYO BBH NY/GOOGLE CREATIVE LAB NY DON BUENOS AIRES GREY NEW YORK GREY NEW YORK BBDO ARGENTINA BUENOS AIRES OGILVY PERU LIMA SAATCHI & SAATCHI LONDON ALMAPBBDO SÃO PAULO MEMAC OGILVY & MATHER DUBAI MEMAC OGILVY & MATHER DUBAI JWT GURGAON BBDO NEW YORK JOHANNES LEONARDO NEW YORK

ENGINE PLUS TOKYO/DRAWING AND MANUAL TOKYO FIRST AVE MACHINE NEW YORK EL BAGRE FILMS BUENOS AIRES MJZ LOS ANGELES/MPC LOS ANGELES MJZ LOS ANGELES/MPC LOS ANGELES POSTER FILMS BUENOS AIRES OGILVY PERU LIMA SMUGGLER LONDON LUX FILMES SÃO PAULO DEJAVU STUDIOZ DUBAI DEJAVU STUDIOZ DUBAI INDEPENDENT LONDON SMUGGLER NEW YORK LOST PLANET NEW YORK

JAPAN USA ARGENTINA USA USA ARGENTINA PERU UK BRAZIL UAE UAE INDIA USA USA

BANKING, INVESTMENT & INSURANCE A21/022 A21/039 A21/040 A21/041 A21/042 A21/043 A21/045 A21/048 A21/058 A21/059 A21/073 A21/074 A21/080 A21/106 A21/108 A21/126 A21/133

COUGH ONE BIG THING MOTORCYCLE TRUCK BIRD IN HAND HONEST ABE DREAM RANGER HEARTS LAWN GAME TEEN DRIVER ROOF WHEEL CONAN - INDIA FOR EVERY BREATH SURPRISE PICNIC OFFICE

FIRSTBANK HBF CFG SERVICES CFG SERVICES GEICO GEICO TA CHONG BANK FINANCIÉRE DE L’ÉCHIQUIER ALLSTATE ALLSTATE MORE TH>N MORE TH>N AMERICAN EXPRESS MEDIBANK COMMERZBANK/BANK FORUM CENTRAAL BEHEER ACHMEA MEXICAN INSURANCE INSTIT. ASSO.

BUSINESS EQUIPMENT & SERVICES A22/007 A22/024 A22/040 A22/044 A22/047

HEIST CHANGE JOHN MALKOVICH EXCHANGE STUDENT TRAILER

SYMANTEC FEDEX KARLOVY VARY INTERNAT. FILM FEST. FEDEX IDFA

COMMERCIAL PUBLIC SERVICES A23/006 A23/106 A23/108 A23/111 A23/113 A23/119 A23/152 A23/165 A23/193 A23/221 A23/222 A23/227 A23/228 A23/237

XYLOPHONE CHROME SPEED TESTS... PHOTOGENIC LOVE MATCH ROBOTS TEEN SPIRIT SUBTITLES WELCOME BACK BEDROOM BABELFISH TRANSLATES PORTUGUESE GOOGLE TRANSLATES JAPANESE ENDLESS GOODBYE FUNNY EMAIL GOOGLE INSTANTWITH BOB DYLAN

NTT DOCOMO GOOGLE FIBERTEL DIRECTV DIRECTV CLARO ARGENTINA ENG. LANGUAGE INSTIT.: ENG. EXCELLENCE T-MOBILE EMBRATEL BERLITZ LANGUAGE CENTER BERLITZ LANGUAGE CENTER BHARTI AIRTEL AT&T GOOGLE

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26 FILM SHORTLIST

CAT

TITLE

ADVERTISER

PRODUCT

ADVERTISING AGENCY

PRODUCTION COMPANY

A23/257 A23/262 A23/263 A23/269 A23/270

HOT HOUSE GLADIATOR LETHAL WEAPON 3 DADDY ENERGY

DIRECTV TTNET TTNET WWW.JECHANGE.FR TELEFÎNICA

SATELLITE TV IPTV TIVIBU DUBBED FILMS IPTV TIVIBU DUBBED FILMS PRICE COMPARISON WEBSITE MOVISTAR IMAGENIO

GREY NEW YORK TBWA\ISTANBUL TBWA\ISTANBUL PUBLICIS CONSEIL PARIS MCCANN ERICKSON MADRID

BISCUIT FILMWORKS LOS ANGELES/MPC LOS ANGELES IMAJ ISTANBUL IMAJ ISTANBUL LES TÉLÉCRÉATEURS PARIS INGRAVITTO BARCELONA

COUNTRY USA TURKEY TURKEY FRANCE SPAIN

KRAFT COCA-COLA NIKE GM NIKE ALPARGATAS FEDEX RELIANCE MEDIA WORKS JOHNSON & JOHNSON JOHNSON & JOHNSON JOHNSON & JOHNSON ORANGE

LUNCHABLES - SPONSORED FIELD TRIPS CULTURAL RELEVANCE NIKE SPORTSWEAR GENERAL MOTORS LEBRON JAMES’IMAGE & BASKETBALL FOOTWEAR RUGBY SPONSORSHIP FEDEX CUP GOLF SWEEPSTAKES CINEMAS NURSING SUPPORT NURSING SUPPORT NURSING SUPPORT CINEDAY

THE ESCAPE POD CHICAGO SANTO BUENOS AIRES VILLARROSÀS BARCELONA GOODBY SILVERSTEIN & PART. SAN FRANCISCO WIEDEN+KENNEDY PORTLAND TALENT SÃO PAULO BBDO NEW YORK MUDRA COMMUNICATIONS MUMBAI BBDO NEW YORK BBDO NEW YORK BBDO NEW YORK PUBLICIS CONSEIL PARIS

SMUGGLER HOLLYWOOD BLUE BUENOS AIRES TESAURO MADRID EFILMS SAN FRANCISCO IMPERIAL WOODPECKER NEW YORK TOCA DOS FILMES SÃO PAULO BISCUIT FILMWORKS LOS ANGELES CHROME PICTURES MUMBAI MJZ NEW YORK MJZ NEW YORK MJZ NEW YORK PARTIZAN PARIS

USA ARGENTINA SPAIN USA USA BRAZIL USA INDIA USA USA USA FRANCE

ANTI-SMOKING AWARENESS ANTI-SMOKING AWARENESS MENTAL HEALTH DISCRIMINAT. AWARENESS ANTI-DRUGS AWARENESS ANTI-DRUGS AWARENESS ALCOHOL ADDICTION AWARENESS CRIME PREVENTION ORGANISATION AIDS AWARENESS BRANDHOUSE DRIVE DRY INITIATIVE AIDS AWARENESS

ARNOLD WORLDWIDE BOSTON ARNOLD WORLDWIDE BOSTON DARE LONDON ENERGY BBDO CHICAGO ENERGY BBDO CHICAGO FORSMAN & BODENFORS STOCKHOLM DDB CANADA/TORONTO GOODBY SILVERSTEIN & PART. S. FRANCISCO FOXP2 CAPE TOWN TBWA\PARIS

SMUGGLER NEW YORK SMUGGLER NEW YORK BLINK PRODUCTIONS LONDON ANONYM. CONTENT/ROCK PAPER SCISSORS /WHITEHOUSE CHICAGO ANONYM. CONTENT/ROCK PAPER SCISSORS /WHITEHOUSE CHICAGO BACON COPENHAGEN UNTITLED FILMS TORONTO PASSION PICTURES LONDON GIANT FILMS CAPE TOWN CARNIBIRD PARIS/\ELSE BOULOGNE-BILLANCOURT

USA USA UK USA USA SWEDEN CANADA USA SOUTH AFRICA FRANCE

LEO BURNETT GROUP SINGAPORE LOWE INDONESIA LOWE INDONESIA LOWE INDONESIA PUBLICIS CONSEIL PARIS ABBOTT MEAD VICKERS BBDO LONDON LEO BURNETT MELBOURNE LATINWORKS AUSTIN 180 AMSTERDAM

MOVIOLA SINGAPORE SQUARE BOX CINETECH JAKARTA/CINERED JAKARTA SQUARE BOX CINETECH JAKARTA/CINERED JAKARTA SQUARE BOX CINETECH JAKARTA/CINERED JAKARTA STINK PARIS MAD COW FILMS LONDON THE POUND MELBOURNE BEAST AUSTIN PARTIZAN LONDON

SINGAPORE INDONESIA INDONESIA INDONESIA FRANCE UK AUSTRALIA USA NETHERLANDS

SAATCHI & SAATCHI ROMANIA BUCHAREST THREE DRUNK MONKEYS SYDNEY OGILVY MEXICO OGILVY JOHANNESBURG JWT JOHANNESBURG

PIMP FILM BRIGHTON/CHAINSAW EUROPE BUCHAREST CURIOUS FILM SYDNEY TROUBLEMAKERS.TV PARIS FRIEZE FILMS JOHANNESBURG BOUFFANT JOHANNESBURG

ROMANIA AUSTRALIA MEXICO SOUTH AFRICA SOUTH AFRICA

CORPORATE IMAGE A24/001 A24/022 A24/028 A24/060 A24/076 A24/102 A24/112 A24/116 A24/119 A24/120 A24/121 A24/123

ALIEN FIELD TRIP CHOIR SHINE COMEBACK RISE FACTS URUGUAY POND SILENT NAT. ANTHEM NAME GAME CHARM OPEN WINDOW HUSSARS

PUBLIC HEALTH & SAFETY A26/006 A26/007 A26/020 A26/027 A26/028 A26/042 A26/044 A26/049 A26/058 A26/060

STOP ME OFFER REACTIONS BEDROOM KITCHEN DRUNKEN ESCAPADES ANONYMOUS SMUTLEY LOVE TO MEET YOU CLEVER DICK

LEGACY FOR HEALTH LEGACY FOR HEALTH TIME TO CHANGE DRUGFREE.ORG DRUGFREE.COM IQ TORONTO CRIME STOPPERS AIDES BRANDHOUSE AIDES

PUBLIC AWARENESS MESSAGES A27/001 A27/021 A27/022 A27/023 A27/038 A27/048 A27/066 A27/073 A27/091

FATHER & SON FAMILY KIDS KITCHEN 3 GENERATIONS WHO KILLED DEON SEE THE PERSON BLACK TAPE MARKED FOR LIFE

MINIS. OF COM. DEVELOP./NAT. FAMILY COUNCIL FILIAL PIETY UNICEF UNICEF UNICEF UNICEF UNICEF UNICEF FONDATION POUR L’ENFANCE CHILD ABUSE AWARENESS THE LONDON METROPOLITAN POLICE ANTI KNIFE CRIME SCOPE DISABILITY AWARENESS PARENTAL CONTROL PARENTAL INTERNET CONTROL AWARENESS SIRE AWARENESS FOR CHILDREN IN DIVORCE

FUNDRAISING & APPEALS A28/031 A28/041 A28/051 A28/058 A28/062

EARTHQUAKE THE GUIDE DOG INTERVIEWS THREADS WAKING UP NEIGHBOURHOOD JUMBLED

FRIDAY, JUNE 24,2011

MULTIPLE SCLEROSIS SOCIETY ROMANIA GUIDE DOGS NSW ACT WWF POWA THE AVRIL ELIZABETH HOME

DONATION APPEAL CHARITY WWF FEMALE ABUSE PREVENTION THE AVRIL ELIZABETH HOME

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FILM SHORTLIST 29

CAT

TITLE

ADVERTISER

PRODUCT

ADVERTISING AGENCY

PRODUCTION COMPANY

DEEP SILVER INTEL CORPORATION K-SWISS DIESEL DIESEL DIESEL MENTOS MENTOS JOHN ST. WRIGLEY WRIGLEY WRIGLEY WRIGLEY WRIGLEY GOOGLE UNILEVER COCA-COLA POSTE ITALIANE HEAL THE BAY NAT. DOMESTIC VIOLENCE HOTLINE ELECTRONIC ARTS OPPOSITION TO PROP 8 LEVI STRAUSS & CO NIKE PROCTER & GAMBLE PROCTER & GAMBLE PROCTER & GAMBLE THE HUFFINGTON POST PHILIPS PHILIPS PHILIPS GOOGLE GOOGLE GOOGLE GOOGLE GOOGLE EUROPEAN TOUR EUROPEAN TOUR BORDER ACTION NETWORK HBO VIVO

VIDEOGAME 2ND GENERATION INTEL CORE I5 PROCESSER SPORTS FOOTWEAR CLOTHING COLLECTION CLOTHING COLLECTION CLOTHING COLLECTION MENTOS SWEETS MENTOS SWEETS AGENCY PROMOTION SKITTLES SKITTLES SKITTLES SKITTLES SKITTLES CHROME BROWSER AXE DETAILER BURN ENERGY DRINK MAILING SERVICE PUBLIC SERVICE ANNOUNCEMENT DOMESTIC VIOLENCE AWARENESS DEAD SPACE 2 GAME ORG. IN SUPPORT OF GAY MARRIAGE CURVE ID JEANS NIKE OLD SPICE BODY WASH OLD SPICE BODY WASH OLD SPICE BODY WASH NEWS WEBSITE WAKE-UP LIGHT WAKE-UP LIGHT WAKE-UP LIGHT GOOGLE INNOVATIONS GOOGLE INNOVATIONS GOOGLE INNOVATIONS GOOGLE INNOVATIONS GOOGLE INNOVATIONS EUROPEAN GOLF TOUR EUROPEAN GOLF TOUR PUBLIC SERVICE ANNOUNCEMENT EASTBOUND AND DOWN VIVO

DEEP SILVER PLANEGG MUNCHEN VENABLES BELL & PART. SAN FRANCISCO 72ANDSUNNY LOS ANGELES SANTO BUENOS AIRES SANTO BUENOS AIRES SANTO BUENOS AIRES THE MARTIN AGENCY RICHMOND THE MARTIN AGENCY RICHMOND JOHN ST TORONTO BBDO CANADA TORONTO BBDO CANADA TORONTO BBDO CANADA TORONTO BBDO CANADA TORONTO BBDO CANADA TORONTO BBH NY/GOOGLE CREATIVE LAB NY BBH NEW YORK PUBLICIS MOJO SYDNEY

AXIS ANIMATION GLASGOW/SAVALAS GLASGOW NEXUS PRODUCTIONS LONDON CAVIAR LA LOS ANGELES STINK DIGITAL LONDON/LANDIA BUENOS AIRES STINK DIGITAL LONDON/LANDIA BUENOS AIRES STINK DIGITAL LONDON/LANDIA BUENOS AIRES @RADICAL.MEDIA NEW YORK @RADICAL.MEDIA NEW YORK SONS AND DAUGHTERS TORONTO OPC TORONTO/PROXIMITY CANADA OPC TORONTO/PROXIMITY CANADA OPC TORONTO/PROXIMITY CANADA OPC TORONTO/PROXIMITY CANADA OPC TORONTO/PROXIMITY CANADA FIRST AVE MACHINE NEW YORK HSI PRODUCTIONS CULVER CITY EXIT FILMS MELBOURNE CRIC MILAN/H FILMS MILAN PARTIZAN US LOS ANGELES @RADICAL.MEDIA SANTA MONICA GOON MEDIA LOS ANGELES FURLINED SANTA MONICA FLYING FISH AUCKLAND @RADICAL.MEDIA SANTA MONICA DON’T ACT BIG PORTLAND DON’T ACT BIG PORTLAND DON’T ACT BIG PORTLAND

SPORTS DRINK SONY VAIO & INTEL TECHNOLOGY

SEXUAL ASSAULT AWARENESS LEXUS CT 200H FILM FESTIVAL HEINEKEN MAGAZINE POCKET MOUSE SPECIAL OLYMPICS SWISSCOM TV

COUNTRY

INTERNET FILM B01/004 B01/043 B01/074 B01/107 B01/108 B01/111 B01/173 B01/174 B01/247 B01/260 B01/261 B01/262 B01/263 B01/264 B01/268 B01/269 B01/281 B01/319 B01/332 B01/335 B01/341 B01/374 B01/384 B01/409 B01/414 B01/415 B01/416 B01/417 B01/438 B01/439 B01/440 B01/442 B01/443 B01/444 B01/445 B01/447 B01/515 B01/516 B01/542 B01/565 B01/587

DEAD ISLAND TRAILER THE CHASE KENNY GETS SIGNED HISTORY OF THE ISLAND ANTHEM LULLABY BLADE COBRA PINK PONIES CAGE COP WAR FINGERS HITCHHIKER CAT SKITTLES GIRL CHROME SPEED TESTS CLEANS YOUR BALLS PRESS CONFERENCE RIDE BECAUSE I LIKE YOU MAJESTIC PLASTIC BAG IT RARELY STOPS MAKING OFYOUR MOM HATES DEAD SPACE 2 DEVIN AND GLENN REAR VIEW GIRLS BLACK MAMBA JS BEALS T APRIL JOHNSON ALLEN FRUITVALE WAKE UP THE TOWN TRAILER WAKE UP THE TOWN - ARCTIC EXPERIMENT WAKE UP THE TOWN - TOM’S STORY DEMO SLAM: CHUBBY BUNNY DEMO SLAM: REALTIME KARAOKE DEMO SLAM: EXTRA SPICY DEMO SLAM: ROUTE 66 DEMO SLAM: RUSHMORE CLAY PIGEON GONG PROFILE THE GOVERNOR EASTBOUND AND MOM PELE

BISCUIT FILMWORKS LOS ANGELES O2 FILMES SAO PAULO

GERMANY USA USA ARGENTINA ARGENTINA ARGENTINA USA USA CANADA CANADA CANADA CANADA CANADA CANADA USA USA AUSTRALIA ITALY USA USA USA USA NEW ZEALAND USA USA USA USA USA NETHERLANDS NETHERLANDS NETHERLANDS USA USA USA USA USA UK UK USA USA BRAZIL

TBWA\CHIAT\DAY LA LOS ANGELES 180LA SANTA MONICA

FOX SPORTS NET LOS ANGELES @RADICAL.MEDIA NEW YORK

USA USA

YOUTH CLUB LONDON SKINNY NEW YORK TREES & ROCKS VANCOUVER WIEDEN+KENNEDY AMSTERDAM

RATTLING STICK LONDON STINK DIGITAL LONDON/SPEEDSHAPE VENICE/SKUNK HOLLYWOOD SUNEEVA TORONTO SONNY LONDON/WIDESCOPE BARCELONA/HELLOHIKIMORI PARIS TOOL OF NORTH AMERICA SANTA MONICA/DOMANI STUDIOS BROOKLYN GROUEK PARIS GORGEOUS LONDON STORIES ZURICH

UK USA CANADA NETHERLANDS USA FRANCE UK SWITZERLAND

DDB LOS ANGELES Y&R CHICAGO DRAFTFCB SAN FRANCISCO SAATCHI & SAATCHI NEW YORK COLENSO BBDO AUCKLAND WIEDEN+KENNEDY PORTLAND WIEDEN+KENNEDY PORTLAND WIEDEN+KENNEDY PORTLAND WIEDEN+KENNEDY PORTLAND GOODBY SILVERSTEIN & PART. S. FRANCISCO TRIBAL DDB AMSTERDAM TRIBAL DDB AMSTERDAM TRIBAL DDB AMSTERDAM JOHANNES LEONARDO NEW YORK JOHANNES LEONARDO NEW YORK JOHANNES LEONARDO NEW YORK JOHANNES LEONARDO NEW YORK JOHANNES LEONARDO NEW YORK SAATCHI & SAATCHI LONDON SAATCHI & SAATCHI LONDON Y&R NEW YORK BBDO NEW YORK Y&R SÃO PAULO

STAMP FILMS LONDON STAMP FILMS LONDON STAMP FILMS LONDON RABBIT CONTENT NEW YORK RABBIT CONTENT NEW YORK RABBIT CONTENT NEW YORK RABBIT CONTENT NEW YORK RABBIT CONTENT NEW YORK BAREFACE PRODUCTIONS DUBAI SPEERS FILM DUBLIN

OTHER SCREENS B02/018 REPLAY SEASON 3 GATORADE B02/032 THE ROCKET PROJECT BRANDED CONTENT SONY VAIO & INTEL

INTERACTIVE FILM B04/003 B04/007 B04/011 B04/013 B04/014 B04/015 B04/017 B04/019

WHERE IS YOUR LINE? DARK RIDE WARDEN SIXTEEN ENTRANCE TOUCHING STORIES A HUNTER SHOOTS A BEAR ENCOURAGEMENT LOST IN VAL SINESTRA

THE HAVENS LEXUS VANCOUVER INTERNAT. FILM FESTIVAL HEINEKEN BOARDS BIC TIPP-EX SPECIAL OLYMPICS GREAT BRITAIN SWISSCOM

BUZZMAN PARIS JWT LONDON LONDON CONTEXTA BERN

ŝĂŶŶĞ ƌĂŵŚŝůů͗ dĞů͗ нϮϳ Ϯϭ ϰϮϰ ϰϰϵϱ DŽďŝůĞ͗ нϮϳ ϴϮ ϱϱϬϲϵϭϭ ƉƌŽĚƵĐƟŽŶΛĐĂƉĞĚŝƌĞĐƚ͘ĐŽŵ ǁǁǁ͘ĐĂƉĞĚŝƌĞĐƚ͘ĐŽŵ FRIDAY, JUNE 24,2011

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CREATIVE EFFECTIVENESS SHORTLIST CAT

TITLE

ADVERTISER

PRODUCT

ENTERED BY

COUNTRY

A01/007 A01/026 A01/029 A01/030 A01/046 A01/053 A01/061

MAC VS. PC THERE’S A MCDONALD’S FOR EVERYONE CLEANS YOUR BALLS THE MAN YOUR MAN COULD SMELL LIKE THE PACIFIC W.A.L.S. - WOMEN AGAINST LAZY STUBBLE SANDWICH

APPLE MCDONALD’S AXE PROCTER & GAMBLE TVNZ PROCTER & GAMBLE PEPSICO

MACINTOSH MCDONALD’S AXE SHOWER GEL OLD SPICE BODY WASH TELEVISION PROGRAMME GILLETTE MACH3 WALKERS

TBWA\MEDIA ARTS LAB LOS ANGELES LEO BURNETT LONDON BBH NEW YORK WIEDEN+KENNEDY PORTLAND COLENSO BBDO AUCKLAND BBDO INDIA MUMBAI ABBOTT MEAD VICKERS BBDO LONDON

USA UNITED KINGDOM USA USA NEW ZEALAND INDIA UNITED KINGDOM

A01/063

YOU’RE NOT YOU WHEN YOU’RE HUNGRY

MARS CHOCOLATE

SNICKERS

BBDO NEW YORK

USA

A01/118

CITY STREETS

HASBRO

MONOPOLY

DDB UK LONDON

UNITED KINGDOM

A01/124

ARE YOU STILL WITH US?

HEINEKEN ITALIA

HEINEKEN

JWT ITALIA MILAN

ITALY

TITANIUM AND INTEGRATED SHORTLIST CAT

TITLE

ADVERTISER

PRODUCT

ENTERED BY

COUNTRY

CA01/002 A01/057 A01/094 A01/101 A01/111 A01/124 A01/132 A01/134 A01/138 A01/141 A01/153 A01/172 A01/176 A01/203 A01/239 A01/241 A01/242 A01/249 A01/250 A01/251 A01/255 A01/265 A01/277 A01/289 A01/290 A01/314 A01/382 A01/385 A01/432 A01/433 A01/437 A01/475

HAPPY INSIDE THE MAN YOUR MAN COULD SMELL LIKE WRITE THE FUTURE THE MEGANE EXPERIMENT THE RIPPLE EFFECT CONCERT MILK TOUCH THE RAINBOW CHROME FAST THE WILDERNESS DOWNTOWN REPLAY SEASON 2 & 3 AMERICAN ROM SAVE THE BEACH HOTEL SHOW US YOUR PIZZA WATSON WELCOME TO OUR REALITY THE SPEED CAMERA LOTTERY FASHION AWARD SECRETS BEHIND PAINTINGS VAC FROM THE SEA THE VOICELESS CAMPAIGN CATS WITH THUMBS KALEIDOSCOPIC FASHION SPECTACULAR THE LAST TEXT READY TO WORK YOUR MOM HATES DEAD SPACE 2 THE CODE THE FRIENDSHIP MACHINE DECODE JAY-Z WITH BING PAY WITH A TWEET THE FILM ROOM WATER MARK REAR VIEW GIRLS

IKEA OLD SPICE NIKE RENAULT TRANSPORT ACCIDENT COMMISSION CONCERTHALL DORTMUND WRIGLEY GOOGLE . GATORADE KANDIA DULCE GMODELO EUROPA SAU DOMINO’S IBM SWEDISH ARMED FORCES VOLKSWAGEN IKEA PZU / NATIONAL MUSEUM IN KRAKOW ELECTROLUX THE ZIMBABWEAN ARLA TARGET AT&T LEVI STRAUSS & CO. ELECTRONIC ARTS ARMED FORCES OF COLOMBIA COCA-COLA BING / JAY-Z INNOVATIVE THUNDER NIKE DIAGEO LEVI STRAUSS & CO.

IKEA CATALOGUE OLD SPICE BODY WASH NIKE FOOTBALL MEGANE SPEED CONCERT HALL SKITTLES CHROME BROWSER ARCADE FIRE SPORTS DRINK ROM CORONA BEER PIZZA DELIVERY IBM RECRUITMENT BLUEMOTION TECHNOLOGIES DEPARTMENT STORE MUSEUM GREEN RANGE VACUUM CLEANERS NEWSPAPER CRAVENDALE MILK TARGET AT&T LEVI’S WORKWEAR DEAD SPACE 2 ARMED FORCES SUPPORT COCA-COLA DECODE JAY-Z WITH BING CURRENCY SYSTEM APPAREL BUNDABERG RUM CURVE ID JEANS

MOTHER LONDON WIEDEN+KENNEDY PORTLAND NIKE COMMS TEAM AMSTERDAM PUBLICIS LONDON GREY MELBOURNE JUNG VON MATT HAMBURG BBDO CANADA TORONTO BBH NEW YORK GOOGLE CREATIVE LAB NEW YORK TBWA\CHIAT\DAY LA LOS ANGELES BV MCCANN ERICKSON BUCHAREST JWT MADRID CRISPIN PORTER + BOGUSKY BOULDER OGILVY & MATHER NEW YORK DDB STOCKHOLM DDB STOCKHOLM FORSMAN & BODENFORS GOTHENBURG LEO BURNETT WARSAW PRIME PR STOCKHOLM TBWA\HUNT\LASCARIS JOHANNESBURG WIEDEN+KENNEDY LONDON MOTHER NEW YORK BBDO NEW YORK WIEDEN+KENNEDY PORTLAND DRAFTFCB SAN FRANCISCO DDB COLOMBIA BOGOTÁ OGILVY ARGENTINA BUENOS AIRES DROGA5 NEW YORK R/GA NEW YORK R/GA NEW YORK LEO BURNETT SYDNEY COLENSO BBDO AUCKLAND

UNITED KINGDOM USA THE NETHERLANDS UNITED KINGDOM AUSTRALIA GERMANY CANADA USA USA USA ROMANIA SPAIN USA USA SWEDEN SWEDEN SWEDEN POLAND SWEDEN SOUTH AFRICA UNITED KINGDOM USA USA USA USA COLOMBIA ARGENTINA USA USA USA AUSTRALIA NEW ZEALAND

FRIDAY, JUNE 24,2011

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FILM CRAFT SHORTLIST

CAT

TITLE

ADVERTISER

PRODUCT

PRODUCTION COMPANY

ADVERTISING AGENCY

COUNTRY

NIKE AT&T AT&T GOOGLE VODAFONE AKZO NOBEL PHILIPS PUMA NOKIA PROCTER & GAMBLE

NIKE FOOTBALL AT&T AT&T CHROME BROWSER MOBILE NETWORK BRAND DULUX FLAT SCREEN T.VS PUMA SOCIAL NOKIA N8 OLD SPICE

INDEPENDENT LONDON BISCUIT FILMWORKS LOS ANGELES GORGEOUS LONDON FIRST AVE MACHINE NEW YORK FLYING FISH AUCKLAND STINK LONDON RSA FILMS LONDON SMUGGLER HOLLYWOOD AARDMAN ANIMATIONS BRISTOL MJZ LOS ANGELES

WIEDEN+KENNEDY AMSTERDAM BBDO NEW YORK BBDO NEW YORK BBH NEW YORK / GOOGLE CREATIVE LAB NEW YORK COLENSO BBDO AUCKLAND EURO RSCG LONDON DDB UK LONDON DROGA5 NEW YORK WIEDEN+KENNEDY LONDON WIEDEN+KENNEDY PORTLAND

NETHERLANDS USA USA USA NEW ZEALAND UNITED KINGDOM UNITED KINGDOM USA UNITED KINGDOM USA

IKEA COCA-COLA SKODA NIKE SONY ERICSSON CADBURY CHRYSLER LEVI’S PREMIER FOOD VOLKSWAGEN LOGITECH PEPSICO JETBLUE JETBLUE JETBLUE LG ELECTRONICS PUMA PEPSICO CARLTON AND UNITED BREWERIES HEINEKEN

IKEA CATALOGUE BURN ENERGY DRINK FABIA VRS NIKE CTR 360 MOBILE PHONE LUNCHBAR CHRYSLER 200 LEVI’S CLOTHING HOVIS VW PASSAT LOGITECH REVUE WITH GOOGLE TV DORITOS AIRLINE AIRLINE AIRLINE VACUUM CLEANER PUMA SOCIAL H2OH CARLTON DRAUGHT HEINEKEN

STINK LONDON EXIT FILMS MELBOURNE SOMESUCH & CO LONDON/UNIT SOFA PRAGUE OUTSIDER LONDON SMUGGLER LONDON VELOCITY FILMS JOHANNESBURG SERIAL PICTURES NEW YORK/JOINT EDITORIAL PORTLAND SKUNK HOLLYWOOD GORGEOUS LONDON PARK PICTURES NEW YORK SMUGGLER HOLLYWOOD MJZ LONDON SMUGGLER HOLLYWOOD SMUGGLER HOLLYWOOD SMUGGLER HOLLYWOOD SMUGGLER NEW YORK/PSYOP NEW YORK SMUGGLER NEW YORK ARGENTINACINE BUENOS AIRES PLAZA FILMS SYDNEY SONNY LONDON

MOTHER LONDON PUBLICIS MOJO SYDNEY FALLON LONDON WIEDEN+KENNEDY LONDON DARE LONDON OGILVY JOHANNESBURG WIEDEN+KENNEDY PORTLAND WIEDEN+KENNEDY PORTLAND MCBD LONDON DEUTSCH INC. LOS ANGELES GOODBY SILVERSTEIN & PARTNERS SAN FRANCISCO AMV.BBDO LONDON MULLEN BOSTON MULLEN BOSTON MULLEN BOSTON Y&R NEW YORK DROGA5 NEW YORK BBDO ARGENTINA BUENOS AIRES CLEMENGER BBDO MELBOURNE WIEDEN+KENNEDY AMSTERDAM

UNITED KINGDOM AUSTRALIA UNITED KINGDOM UNITED KINGDOM UNITED KINGDOM SOUTH AFRICA USA USA UNITED KINGDOM USA USA UNITED KINGDOM USA USA USA USA USA ARGENTINA AUSTRALIA UNITED KINGDOM

MINI/BMW VIVO ARCOR NISSAN

MINI COUNTRYMAN VIVO BON O BON NISSAN JUKE

SMUGGLER HOLLYWOOD O2 FILMES SÃO PAULO ARGENTINACINE BUENOS AIRES WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX

BSUR AGENCY AMSTERDAM Y&R SÃO PAULO LEO BURNETT ARGENTINA BUENOS AIRES TBWA\PARIS

NETHERLANDS BRAZIL ARGENTINA FRANCE

IPAD LIGHT PAINTING MINI COUNTRYMAN FLOW KITCHEN ODYSSEY TO WORK DULUX WALLS WELCOME SWITZERLAND - MORE THAN MOUNTAINS AFTER HOURS ATHLETE BIRTH OF A SPARTAN HUSSARS FIRE STAY AWAKE

DENTSU LONDON MINI/BMW LURPAK LEVI’S AKZO NOBEL MERCEDES-BENZ SWITZERLAND TOURISM PUMA MICROSOFT XBOX ORANGE PERNOD RICARD NISSAN

ADVERTISING AGENCY MINI COUNTRYMAN LURPAK LEVI’S CLOTHING DULUX MERCEDES-BENZ TOURISM/TRAVEL PUMA SOCIAL HALO REACH CINEDAY JAMESON NISSAN JUKE

BERG LONDON SMUGGLER HOLLYWOOD STINK LONDON SKUNK HOLLYWOOD STINK LONDON GORGEOUS LONDON CONDOR FILMS ZÜRICH SMUGGLER HOLLYWOOD BISCUIT FILMWORKS LOS ANGELES PARTIZAN PARIS BISCUIT FILMWORKS LOS ANGELES WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX

DENTSU LONDON LONDON BSUR AGENCY AMSTERDAM WIEDEN+KENNEDY LONDON WIEDEN+KENNEDY PORTLAND EURO RSCG LONDON MERKLEY + PARTNERS NEW YORK SPILLMANN/FELSER/LEO BURNETT ZÜRICH DROGA5 NEW YORK AGENCYTWOFIFTEEN SAN FRANCISCO PUBLICIS CONSEIL PARIS TBWA\CHIAT\DAY NEW YORK TBWA\PARIS

UNITED KINGDOM NETHERLANDS UNITED KINGDOM USA UNITED KINGDOM UNITED KINGDOM SWITZERLAND USA USA FRANCE USA FRANCE

KITCHEN ODYSSEY BORN OF FIRE TO WORK BLACK MAMBA

LURPAK CHRYSLER LEVI STRAUSS & CO. NIKE

LURPAK CHRYSLER 200 LEVI’S WORK WEAR NIKE

STINK LONDON SERIAL PICTURES NEW YORK/JOINT EDITORIAL PORTLAND SKUNK NEW YORK/JOINT EDITORIAL PORTLAND @RADICAL.MEDIA SANTA MONICA

WIEDEN+KENNEDY LONDON WIEDEN+KENNEDY PORTLAND WIEDEN+KENNEDY PORTLAND WIEDEN+KENNEDY PORTLAND

UNITED KINGDOM USA USA USA

PRODUCTION DESIGN A01/013 A01/014 A01/015 A01/021 A01/024 A01/040 A01/060 A01/064 A01/081 A01/092

WRITE THE FUTURE BEDTIME STORIES ENTERTAINMENT CHROME SPEED TESTS IN WITH THE NEW DULUX WALLS FOUNDLING AFTER HOURS ATHLETE WORLDS SMALLEST CHARACTER ANIMATION QUESTIONS

DIRECTION A02/001 A02/005 A02/016 A02/017 A02/044 A02/065 A02/089 A02/100 A02/164 A02/177 A02/179 A02/206 A02/212 A02/214 A02/216 A02/238 A02/246 A02/257 A02/262 A02/315

CATS RIDE MADE OF MEANER STUFF CONTROL MODELS VOICE OVER BORN OF FIRE TO WORK MISS CHIEF FORCE KEVIN BACON FAN DIRECTORS TIPS CAB JAM GLASS HALF FULL LOCAL SOMETHING’S LURKING AFTER HOURS ATHLETE BRAIDS SLO MO ENTRANCE

BEST PRODUCTION VALUE A03/006 A03/032 A03/042 A03/057

MINI COUNTRYMAN FLOW PELÉ (1284) GIANT BON O BON STAY AWAKE

CINEMATOGRAPHY A04/005 A04/009 A04/038 A04/042 A04/070 A04/073 A04/077 A04/092 A04/094 A04/117 A04/118 A04/120

EDITING A05/003 A05/004 A05/006 A05/027

FRIDAY, JUNE 24,2011

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FILM CRAFT SHORTLIST 35

CAT

TITLE

ADVERTISER

PRODUCT

PRODUCTION COMPANY

ADVERTISING AGENCY

COUNTRY

A05/029 A05/036 A05/048 A05/051 A05/052 A05/082 A05/094 A05/096

LAST TANGO IN COMPTON FOR EVERY BREATH 60 THINGS IN 60 SECONDS WRITE THE FUTURE AFTER HOURS ATHLETES MILK RUN WHO KILLED DEON? ENTRANCE

VOLKSWAGEN MEDIBANK SKY TELEVISION NIKE PUMA VOLKSWAGEN THE LONDON METROPOLITAN POLICE HEINEKEN

POLO HEALTH INSURANCE MY SKY NIKE FOOTBALL PUMA SOCIAL VOLKSWAGEN RANGE ANTI KNIFE CRIME HEINEKEN

ACADEMY LONDON EXIT FILMS MELBOURNE THICK AS THIEVES AUCKLAND INDEPENDENT LONDON RATTLING STICK LONDON ROBBERS DOG FILM AUCKLAND MAD COW FILMS LONDON SONNY LONDON

DDB UK LONDON GEORGE PATTERSON Y&R MELBOURNE DDB GROUP NEW ZEALAND AUCKLAND WIEDEN+KENNEDY AMSTERDAM DROGA5 NEW YORK DDB GROUP NEW ZEALAND AUCKLAND ABBOTT MEAD VICKERS BBDO LONDON WIEDEN+KENNEDY AMSTERDAM

UNITED KINGDOM AUSTRALIA NEW ZEALAND UNITED KINGDOM UNITED KINGDOM NEW ZEALAND UNITED KINGDOM UNITED KINGDOM

SONY ERICSSON SONY ERICSSON SONY ERICSSON NIKE ALLSTATE ALLSTATE ALLSTATE ALLSTATE LEVI’S TOYOTA LOGITECH NEW ERA CHRYSLER PUMA ESPN LAND ROVER PROCTER & GAMBLE

MOBILE PHONE MOBILE PHONE MOBILE PHONE NIKE FOOTBALL INSURANCE INSURANCE INSURANCE INSURANCE LEVI’S CLOTHING TOYOTA SIENNA LOGITECH REVUE WITH GOOGLE TV BASEBALL CAPS CHRYSLER 200 PUMA SOCIAL SPORTSCENTER LR4 OLD SPICE

SMUGGLER LONDON SMUGGLER LONDON SMUGGLER LONDON INDEPENDENT LONDON EPOCH FILMS BEVERLY HILLS/MASSMARKET NY/ANOTHER COUNTRY CHICAGO EPOCH FILMS BEVERLY HILLS/MASSMARKET NY/ANOTHER COUNTRY CHICAGO EPOCH FILMS BEVERLY HILLS/MASSMARKET NY/ANOTHER COUNTRY CHICAGO EPOCH FILMS BEVERLY HILLS/MASSMARKET NY/ANOTHER COUNTRY CHICAGO SKUNK HOLLYWOOD CAVIAR LA LOS ANGELES SMUGGLER HOLLYWOOD HUNGRY MAN NEW YORK SERIAL PICTURES CULVER CITY/JOINT EDITORIAL PORTLAND SMUGGLER NEW YORK O POSITIVE FILMS NEW YORK O POSITIVE FILMS NEW YORK MJZ LOS ANGELES

DARE LONDON DARE LONDON DARE LONDON WIEDEN+KENNEDY AMSTERDAM LEO BURNETT CHICAGO LEO BURNETT CHICAGO LEO BURNETT CHICAGO LEO BURNETT CHICAGO WIEDEN+KENNEDY PORTLAND SAATCHI & SAATCHI LA GOODBY SILVERSTEIN & PARTNERS SAN FRANCISCO THE BROOKLYN BROTHERS NEW YORK WIEDEN+KENNEDY PORTLAND DROGA5 NEW YORK WIEDEN+KENNEDY NEW YORK Y&R NEW YORK WIEDEN+KENNEDY PORTLAND

UNITED KINGDOM UNITED KINGDOM UNITED KINGDOM NETHERLANDS USA USA USA USA USA USA USA USA USA USA USA USA USA

NIKE T-MOBILE UNILEVER HEINEKEN BRAUN TOYOTA MATTEL FRANCE SONY GOVERN. OF INDIA MINIS. OF RAILWAYS CHRYSLER PUMA VOLKSWAGEN BAR AURORA E BOTECO FERRAZ STELLA ARTOIS LEGO LEVI’S T-MOBILE

NIKE FOOTBALL TELECOMMUNICATIONS REXONA SENSITIVE HEINEKEN SATIN HAIR 5 MULTISTYLER TOYOTA SIENNA SCRABBLE PLAYSTATION RAILWAYS CHRYSLER 200 FAAS LAB VW PASSAT CHAIN OF BARS STELLA ARTOIS LEGO LEVI’S CLOTHING TELECOMMUNICATIONS

ANONYMOUS CONTENT CULVER CITY/INDEPENDENT LONDON SMUGGLER LONDON HUNGRY MAN NEW YORK SONNY LONDON VCC PERFECT PICTURES DÜSSELDORF/DAS WERK DÜSSELDORF CAVIAR LA LOS ANGELES PARANOID PROJECTS PARIS GARLIC FILMS MADRID NIRVANA FILMS MUMBAI SERIAL PICTURES CULVER CITY/JOINT EDITORIAL PORTLAND MJZ NEW YORK ENDLESS NOISE LOS ANGELES HUNGRY MAN SÃO PAULO RATTLING STICK LONDON MJZ LOS ANGELES SKUNK HOLLYWOOD GORGEOUS LONDON

WIEDEN+KENNEDY AMSTERDAM SAATCHI & SAATCHI LONDON PONCE BUENOS AIRES WIEDEN+KENNEDY AMSTERDAM BBDO GERMANY DÜSSELDORF SAATCHI & SAATCHI LA OGILVY FRANCE PARIS DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES OGILVY & MATHER MUMBAI WIEDEN+KENNEDY PORTLAND DROGA5 NEW YORK DEUTSCH INC. LOS ANGELES OGILVY BRASIL SÃO PAULO MOTHER LONDON PEREIRA & O’DELL SAN FRANCISCO WIEDEN+KENNEDY PORTLAND SAATCHI & SAATCHI LONDON

NETHERLANDS UNITED KINGDOM ARGENTINA NETHERLANDS GERMANY USA FRANCE ARGENTINA INDIA USA USA USA BRAZIL UNITED KINGDOM USA USA UNITED KINGDOM

NIKE NTT DOCOMO GOOGLE DEUTSCHE BAHN SUNRISE TELECOMMUNICATION CADBURYS CANAL +

NIKE FOOTBALL MOBILE PHONE CHROME BROWSER GERMAN RAIL TELECOMMUNICATION SERVICE LUNCH BAR TV CHANNEL

INDEPENDENT LONDON ENGINE PLUS TOKYO/DRAWING AND MANUAL TOKYO FIRST AVE MACHINE NEW YORK DOITY PRODUKTION BERLIN ULTRA IMAGES ZÜRICH VELOCITY FILMS JOHANNESBURG WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX

WIEDEN+KENNEDY AMSTERDAM DRILL TOKYO/DENTSU TOKYO BBH NEW YORK/GOOGLE CREATIVE LAB NEW YORK OGILVY FRANKFURT SPILLMANN/FELSER/LEO BURNETT ZÜRICH OGILVY JOHANNESBURG BETC EURO RSCG PARIS

UNITED KINGDOM JAPAN USA GERMANY SWITZERLAND SOUTH AFRICA FRANCE

MINI/BMW DRENCH AT&T SONY CANAL + NIKE LG ELECTRONICS

MINI COUNTRYMAN DRENCH WATER AT&T PLAYSTATION 3 TV CHANNEL NIKE FOOTBALL VACUUM CLEANER

SMUGGLER HOLLYWOOD SMITH AND JONES LONDON/MPC LONDON RABBIT CONTENT NEW YORK GARLIC FILMS MADRID WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX ANONYMOUSCONTENT@INDEPENDENT LONDON/THE MILL LONDON SMUGGLER NEW YORK/PSYOP NEW YORK

BSUR AGENCY AMSTERDAM CHI & PARTNERS LONDON BBDO ATLANTA DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES BETC EURO RSCG PARIS WIEDEN+KENNEDY AMSTERDAM Y&R NEW YORK

NETHERLANDS UNITED KINGDOM USA SPAIN FRANCE UNITED KINGDOM USA

CADBURY KIA MICROSOFT XBOX BRAUN SILESTONE BY COSENTINO NOKIA MTV RENAULT SEQUOIA UBISOFT

CADBURY KIA SOUL FABLE III SATIN HAIR 5 MULTISTYLER KITCHEN WORKTOPS NOKIA N8 INSTITUCIONAL ELECTRIC CARS ORGANIC & NATURAL MARKET RAVING RABBIDS

ACADEMY LONDON/MPC LONDON PARTIZAN LONDON SMUGGLER HOLLYWOOD/PSYOP NEW YORK VCC PERFECT PICTURES DÜSSELDORF/DAS WERK DÜSSELDORF ALEX ROMAN MADRID AARDMAN ANIMATIONS BRISTOL PARANOIDBR SÃO PAULO/RAW PRODUTORA DE AUDIO SÃO PAULO DIGITAL DISTRICT PARIS WIZZ CLICHY WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX

FALLON LONDON DAVIDANDGOLIATH EL SEGUNDO AGENCYTWOFIFTEEN SAN FRANCISCO BBDO GERMANY DÜSSELDORF

UNITED KINGDOM USA USA GERMANY SPAIN UNITED KINGDOM BRAZIL FRANCE FRANCE FRANCE

SCRIPT A06/010 A06/012 A06/015 A06/020 A06/030 A06/031 A06/032 A06/033 A06/036 A06/049 A06/065 A06/079 A06/081 A06/089 A06/109 A06/111 A06/115

MODELS GUIDOS TODDLERS WRITE THE FUTURE FLAG GPS LAWN GAME TEEN DRIVER TO WORK SWAGGER WAGON KEVIN BACON FAN ONE HITTER BORN OF FIRE AFTER HOURS ATHLETE COPIER - LANDON DONOVAN PATHOLOGICAL LIAR QUESTIONS

BEST USE OF MUSIC A07/004 A07/021 A07/027 A07/032 A07/058 A07/074 A07/093 A07/107 A07/108 A07/126 A07/132 A07/147 A07/157 A07/163 A07/169 A07/170 A07/173

WRITE THE FUTURE WELCOME BACK SENSITIVE ARMPITS ENTRANCE HAIRMOTICONS SWAGGER WAGON BLOCK PROJECT VICTOR TRAIN BORN OF FIRE BLAM!BLAM! FORCE DRUNK VALET LE QUEST BRICK THIEF TO WORK WEDDING

SOUND DESIGN A08/002 A08/005 A08/019 A08/023 A08/040 A08/049 A08/050

WRITE THE FUTURE XYLOPHONE CHROME SPEED TESTS TRAVEL SYMPHONY SLEEP WELL VOICE OVER TICK

SPECIAL EFFECTS & COMPUTER GRAPHICS A09/021 A09/026 A09/029 A09/085 A09/086 A09/103 A09/108

MINI COUNTRYMAN FLOW CUBEHEAD SPRING VICTOR TICK WRITE THE FUTURE SOMETHING’S LURKING

ANIMATION A10/015 A10/021 A10/035 A10/038 A10/092 A10/097 A10/106 A10/107 A10/122 A10/127

SPOTS V STRIPES THIS OR THAT REVOLUTION HAIRMOTICONS ABOVE EVERYTHING ELSE... WORLDS SMALLEST CHARACTER ANIM. BALLOONS A WHIRLWIND OF CHANGE TESTIMONY OF A SNAIL E3

WIEDEN+KENNEDY LONDON LODUCCA MPM SÃO PAULO BLUE ADVERTAINMENT PARIS MARCEL PARIS LUDI FACTORY MONTREUIL

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T H E I N T E L L I G E N T WAY T O

WIDESPREAD in Africa is the belief that one should raise one’s bed (or in this case the equally KWUNWZ\IJTM +PM[\MZÅMTL [WNI \W prevent the unwelcome advances of little spirits called Tokoloshes. Some Europeans may find this XZIK\Q[M I \ZQÆM [\ZIVOM · aM\ _QTT \PQVS VW\PQVO WN KZW[[QVO ÅVOMZ[ touching wood or even donning a favourite pair of underpants to bring good luck. Superstitions, it’s clear, take many forms and guises. As do bricks.

Take the BRIC acronym. Coined in 2001 by Jim O’Neil of Goldman Sachs, he predicted that by 2014 four key emerging economies, Brazil, China, India and Russia, would account for over 60% of global growth. (To his lasting credit he settled on BRICs and not CRIBs). Historically, South Africa sat on the sidelines, no doubt marvelling at the power and status wielded by this supreme quartet. Then, late last year, something

remarkable happened. Arguably, something even more significant \PIV PW[\QVO \PM ÅZ[\ .1.) ?WZTL Cup on African soil. Along with the Christmas cards, an invitation arrived on the desk of South African President Jacob Zuma. It was from the Chinese President, Hu Jintao, requesting South Africa joins the BRICs group of major emerging markets. BRICs becomes BRICS. And the simple metamorphosis of the

letter ‘s’ from lower to upper case will almost certainly alter the entire destiny of a continent. At The Jupiter Drawing Room (South Africa), an agency that is SA born and bred, we celebrated with wild aplomb on our agency heirloom; an original Chesterfield sofa (our first item of furniture remains convincingly emblematic of the creativity and craftsmanship at the heart of the agency). We concur with the sentiments expressed by the International

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BUILD YOUR BRAND IN AFRICA.

Marketing Council, who see the BRICS announcement as recognition that South Africa is the gateway to a continent of one billion consumers undergoing astonishing economic transformation. In March last year a Newsweek feature proclaimed: ‘Africa – The New India – How an Economic Explosion is Transforming the Continent’. Africa now has the highest rate of growth outside Asia. Africans are already richer than Indians.

Dear old Jim O’Neil himself predicts the combined GDP of the eleven largest African economies could reach US$13 trillion by 2050, making them bigger than Brazil and Russia. And, for good measure, The New York Times reports that by 2040 Africa’s workforce (aged 16 to 64 years old) is likely to reach 1,2 billion, making it bigger than those of China and India! Clearly, marketers can no longer ignore the significance of

Africa as a vibrant melting pot of burgeoning consumers. And that’s where we come in. If you have aspirations for your brand in Africa, doesn’t it make sense to talk to an agency that’s had a modicum of success building its own there? Last year, FinWeek’s AdReview declared The Jupiter Drawing Room (South Africa), to be the first independent to win the Overall Agency of the Decade crown. We like to believe this was, in

part, recognition for our twenty years at the coal face, successfully building brands on the world’s second largest continent. Why not e-mail gvwarsop@jupiter.co.za? As we see it, along with an understanding of each market (superstitions included) bricks and BRICS will, for different reasons, provide the right foundations. But when you’re exposed to our credentials, you’ll hopefully discover that for yourself. On the Chesterfield. Of course.

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FOCUS ON LATIN AMERICA

FRIDAY, JUNE 24,2011

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f Gisele Bundchen was the star of a Pantene campaign by Grey

The

beautiful south South American producers and service providers may not be attracting as many foreign shoots as last year, but the internal market is heating up and local agencies are booming. Gary Smith reports

RAZIL’s ascent into the ranks of globally significant economic powerhouses has been much discussed, but one fact less talked about is that President Lula’s administration created 20 million new consumers, which has had a galvanising effect on the country’s advertising agencies and spot producers. Antonio Carlos Accioly, executive producer at Margarida Filmes, is seeing multiple changes on the home front: “Today we are working hard for the local market and in particular for clients such as Unilever, Procter & Gamble and its agencies,” he says. “The influence of the strengthening of the Brazilian economy is manifest in the growing number of multinational agencies entering the local advertising market and the presence of new brands. We have also noticed that Brazil is attracting more films, having recently served as a location for large productions like The Fast And The Furious 5 by Justin Lin, the animated film Rio by Carlos Saldanha, Dawn Twilight by Chris Weitz, The Incredible Hulk by Louis Leterrier among others.” Two of Margarida’s biggest jobs of the last year were car commercials for Citroen and Mitsubishi. “They were very challenging because of the huge structure created to transport the vehicles, the massive lighting equipment and certain particularities of the locations where it was filmed. The Citroen spot was filmed on the road linking the cities of Petropolis and Juiz de Fora, which was entirely closed for filming, and the Mitsubishi Paje was shot in the sand dunes of Arraial do Cabo,” Accioly says. “Currently the challenge we face is to be able to maintain the quality of the films, and increase our base costs while staying active in an increasingly competitive market.” Margarida has a complete post-production and 3D set-up at the company’s headquarters in Sao Paulo, and more than five affiliates across the country, including Porto Alegre, Curitiba

and Brasilia. According to Grey Brasil’s creative director, Guy Costa, and executive creative director, Alexandre Scaff, Brazil is full of opportunities: “It represents half of the economy of Latin America. But what is really worth mentioning is that communication is part of the engine of this economy and culture. In Brazil, businesses and government institutions see communication as a great ally. The Brazilian way is that we use creativity to do business for our clients, including introducing ideas that they don’t even know they need. This means being in tune with the busi-

“THE BRAZILIAN WAY IS THAT WE USE CREATIVITY TO DO BUSINESS FOR OUR CLIENTS, INCLUDING INTRODUCING IDEAS THEY DON’T EVEN KNOW THEY NEED” Guy Costa, Grey Brasil ness of our clients to identify all possible opportunities. To do so, the agency has to be creative as a whole. This applies to both local clients and international ones.” Grey’s biggest challenge last year was also the source of Costa’s greatest pleasure: “The Hair Samba integrated campaign for Pantene was a great challenge because it was a new idea. Imagine launching a new dance step in Brazil during the carnival! It involved creating a dedicated samba school and an internet contest, plus the sponsorship of major television networks in Brazil. The result was more than 5,000 people dancing the Hair Samba at the carnival in Rio, $25m of spontaneous media and considerable growth of sales FRIDAY, JUNE 24,2011

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r Surreal Uyuni as featured in the Uniqlo spot (OPENER)

within the first two months.” For WMcCann regional director Luca Lindner, the last year presented a very different kind of challenge, to fuse Washington Olivetto and McCann Brazil to create WMcCann. “It is now one of the top five agencies in the market and both our clients and our people are very happy, combining WBrazil’s local soul and creative ethos with McCann’s global attitude and strategic planning tradition has been an amazing task. And along the way we’ve picked up new business, such as Walmart in Central America, new digital assignments for Nestle Brasil, Telkom in South Africa and Sony Ericsson for parts of the Middle East.” Meanwhile, back on Planet Brazil, Lindner sometimes has difficulty believing what is happening: “I wake up every morning and check if I’m dreaming, but it is real. There is growth everywhere. All our clients are on double-digit growth and we are doing very well. But beyond the numbers, today in Brazil and in most of the region under my responsibility, from Dubai to Kenya and from Costa Rica to Brazil, there is the sort of openness and optimism about the future that Europe had in the ‘50s/’60s.” For Alexandre Gama, president and creative and planning director of NEOGAMA/BBH, new business has been mainly local: “Brazil is booming, local business rules and much of it is digital. It’s a bit like categorising the world’s religions as Christian or non-Christian, for example, when it’s clear that you’re describing religion from your own point of view. But in communication, the real professionals have to be agnostic and I’m a believer in the holy toolbox of media communication. I’m not offline, online, below the line or above the line. I’m no line. I seek to embrace all forms of communication that can help my ideas to reach people

“IF BEFORE WE ACCOMPLISHED MUCH WITH LITTLE, WE ARE GOING TO ACCOMPLISH MUCH MORE WITH MORE... BUT WE WILL HAVE MORE SOPHISTICATED PRODUCTION” Sergio Valente, DM9DBB in the best possible way. It’s the message that matters the most.” When Gama started his agency, his goal was to take the agency to the top 10 within 10 years. “NEOGAMA/BBH is now a top-five agency in Brazil by media-buying rank,” he says. “The agency is currently as relevant to the agency network business as the London office. There’s no other case like this in the country, even when you take into account that the country has been boosted by recent economic growth.” For Marcos Golfari, regional CEO for Ogilvy & Mather Latina, and Gaston Bigio, regional creative director, 2010 was the best in the last 10 years: “It was even better than pre-crisis 2008, which was a record year — and this is only talking about numbers,” Golfari says. “From a business point of view, we won important new clients, including YPF in Argentina, Bimbo in Mexico, Claro, L’Occitane and Siemens in Brazil, Nestea and Comcel in Colombia, and Jumbo in Chile.” According to Golfari, 2010 was a year of broad-based expansion. “There was growth as well in newly initiated areas such as PR, winning the Image Of Mexico campaign and, in Brazil, the FRIDAY, JUNE 24,2011

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Embratur for Europe campaign. Our plan for 2011 is what we consider a realistic growth rate, of 10%. Currently Brazil and Mexico are the great motors of Latin America, closely followed by Argentina, and Colombia which has been reactivated in recent years.” Bigio agrees: “The region is in the middle of profound change from the classical image based on tango and samba culture to something quite new. We have our own way of looking at the world and inevitably lots of ideas that have local and international resonance. “It’s the same with our uses of colour. Colours often have a historical relevance here, and they reflect the diversity and energy of the region.” In order to justify its presence in the region, Ogilvy has had to focus on the local creative level. “I believe that this is reflected in campaigns like Santa’s Forgotten Letters for CocaCola by Ogilvy Brasil and Ogilvy Buenos Aires’ Spread The TED, where 50 taxi drivers in Buenos Aires were asked to attend a TEDx conference and then talk about what they’d seen and heard

ARGENTINA

AN ELEPHANT WALKED INTO A BAR… ARGENTINIAN producer Hachiko Films faced numerous challenges shooting the Noah’s Bar spot for Sprite and agency Santo Buenos Aires. “The production had to find a good balance between humour and non-aggressiveness, because we had to show animals having sex, and a teenage girl repressing her sexual impuls-

FRIDAY, JUNE 24,2011

es, and all that had to be able to be aired on TV, cinema and internet,” director Claudio Prestia, says. “The spot was shot in Buenos Aires in five days, with a fake bar that the art department had to build to the scale of each animal couple seated at each table.” Elephants, donkeys, tortoises, goats and guinea pigs were

shot flirting through to mating, and then the shoot was followed by two months of post-production. “Everyone was happy with the results, but it is true what actors say,” Prestia says. “When there are so many technicians behind the scenes, there was no true love among any of the animal couples.”

to their customers.” Sergio Valente, president of DM9DDB, has also been busy with the mechanics of the agency: “In 2010 we concentrated on consolidating DDB Brazil as a convergent agency, a process that started in 2004 and led us to winning the Cyber Agency of the Year at the Cannes Festival in 2005. Therefore, it has been important for us to work with our existing clients to win their digital accounts, in order to consolidate our strategy of thinking, creating and implementing truly convergent brand building. “We won the digital accounts of clients such as Whirlpool Digital, C&A Mobile and C&A Digital (the largest clothing retailer in Brazil), Bohemia Digital (a premium beer by Ambev for the Brazilian market) and Itau Digital (one of Brazil’s largest banks). One outstanding result was the convergent campaign for Whirlpool brand Brastemp, which garnered both critical and public acclaim. “On top of that, three brands served by DM9 — C&A, Brastemp and Banco Itau — entered the new ranking published by Troiano consulting, of brands with the greatest digital DNA in the Brazilian market.” It seems that Brazil’s prize-winning can-do attitude has not been — and is unlikely to be — affected by the rapidly growing economy. “I don’t think it will change much. Brazilians are creative and they will continue being creative,” he says. “But, if before we accomplished much with little, we are going to accomplish much more with more, and I have no doubt that local creativity will stay at a high level, but for sure we will have more sophisticated productions.” Changes are under way as well as at Y&R Brazil, where Rui Branquinho took over as creative vice-president in January. “He has already had the opportunity to put some excellent work on the streets,” says Marcos Quintela, president of Y&R Brazil. “Among them is a project for Santa Casa, and the campaign developed for Miami Ad School, which stimulates youngsters to create instead of copying, using only the traditional letterset.” Following more than a decade of steady growth and consolidation, Quintela is looking to move ahead more rapidly. “The momentum is now to boost growth using the opportunities offered by the re-shaping of Brazil’s social pyramid,” he says. “The considerable growth of an emerging class of consumers, alongside more accessible credit and not forgetting the major sporting events ahead, mean that Y&R Brazil’s brand portfolio will certainly benefit from the combination of all these opportunities.” Sport-related opportunities are already happening. “The project developed for Vivo around the sponsorship of the Brazilian soccer team was a huge challenge,” Quintela says. “Most difficult was keeping the brand in focus during the World Cup event across this huge country without the use of TV as a massmedia vehicle. Y&R developed an online platform engaging consumers during the entire period, culminating with fantasy documentary O Ultimo Gol Do Pele, which consumers loved. Research results showed growth in consumer preference in a period where the brand was absent from traditional mediums,

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n Brastemp created a huge buzz in Brazil for Whirlpool

proving the success of the strategy. “Another project that makes us extremely proud is the campaign created for Santa Casa de Misericorida de Sao Paulo, the oldest hospital in the city. We have been voluntarily responsible for the institution’s communication since 2004 and the campaign is part of the 5% movement, to encourage 5% of Brazilians to donate blood. Our aim was to inspire advertisers to donate space in shared content and communication pieces by offering other agencies downloadable intervention tags to place in their own clients’ ads.” In Chile, Sylvie Dube, executive producer at Moonlighting, is seeing a new wave of US clients taking advantage of the country’s relative proximity. “Our new business is partly location-driven and partly thanks to the fact that talent rates are low,” she says. “Plus our crews are excellent, and thanks to their efficiency and the local geography, we can do a lot of different scenarios in a short time. “Recently we shot a Tiger beer commercial which involved mocking up Italy, Germany, the US and Peru, and we managed all four in the same day. Production company Traktor told us that we were at the same level as LA — quite a compliment! And then they hired our art director and flew her out to Cambodia for a further shoot.” Dube is justifiably proud of her team and its can-do attitude. “We worked with Boxer on a shoot that

THANKS TO OUR CREWS’ EFFICIENCY AND THE LOCAL GEOGRAPHY, WE CAN DO A LOT OF DIFFERENT SCENARIOS IN A SHORT TIME” Sylvie Dube, Moonlighting involved multiple car crashes, we’ve staged a boat race for Timberland with a stunt man jumping from boat to boat, and we’ve done quite a few kids spots recently. Chilean laws covering working with kids are less bureaucratic than in both Argentina and Brazil, where you are obliged to make applications seven days before the shoot, which can be impossible for some spots. “In terms of having kids working on set, Chilean law is less strict in terms of hours per day but, as we all know, working with kids is all about being kind and considerate with them, making sure they don’t get bored in between takes.” Monlighting also recently serviced an Outsider shoot for UK pharmaceutical brand Boots. “That was another quite intense job,” Dube says. “It involved several short stories per day and

100% Service 100% Production

CHILE / ROMANIA / SOUTH AFRICA www.moonlighting.co.za

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really tested our ability to move the set quickly from place to place. We are also now working regularly on co-productions with other service companies in Argentina and Brazil in order to be able to offer a greater range of locations and production options.” Ocean Films’ executive producer, Cristian Marini, recently found himself in the middle of Bolivia at over 3,000 metres altitude on the huge and beautiful salt flats of Uyuni. “We went to Uyuni because our client Uniqlo asked us to make a spot there. Aesthetically it is stunning, especially in the rainy season when the shallow water on the flats creates a huge mirror which reflects the sky and clouds. But there is so little production support in Bolivia that we were obliged to take almost everything we were going to need with us.” Following a stay in La Paz to acclimatise, the crew drove in a convoy of 4x4s to Uyuni. “And when we got there, guess what? No rain, so no big beautiful mirror! But just before we were due to leave, the rain fell and we got that amazing effect with no horizon, where you don’t know whether you are in the sky or on the ground.” Ocean Films has also shot in Brazil a reality show called Short Cut To Hell for MTV India, and just finished filming the latest spot for the Mini Cooper. Of the latter Marini says: “I can’t say too much because it has not yet been broadcast but the story is based around a samba drome, and involved hundreds of extras plus a parade through the streets with all the usual carnival trimmings and decoration. It’s a great spot and we really enjoyed working with Thomas & Thomas.” Another MTV project, this time a spot for MTV Brazil made by Paranoid Films, involved an animated sequence with each drawing appearing on a white balloon which was burst r Miami Ad School - Letraset

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by a needle moving down a 140-metre track. “There were 3,600 balloons, so in fact, in principle we needed a 220-metre track but were only able to build 140 metres, so there are a couple of edits, but they are very hard to spot,” executive producer Egisto Betti says. “We also had to spend quite some time finding the optimum velocity, which turned out to be 24 balloons per frame. And, due to the nature of the job, once we had started we just had to keep going, so we shot for 36 hours straight through.” The effort was worth it though, with the spot having created a huge buzz on professional and online video sites, generating hundreds of thousands of views. Betti says: “A simple idea done well can be very powerful.” Another simple idea that Paranoid has pioneered in Brazil is presenting treatments to clients. “It is something that is normal procedure in many other places but not in Brazil, and our clients really appreciate that they know exactly what they’re getting,” Betti says. “Plus we can offer a roster of foreign directors from our offices in Paris and LA, and on a local level, Dulcidio Caldera, who directed the MTV balloons spot, used to be a creative director at Almap/BBDO, so he is able to act as a bridge between the agency and the production.” Jan Roldanus of GreenGo Films found himself on a beach with a 15-metre mock-up whale last month. “It was a job for LU’s Prinz biscuits where the story is about the amphibian being saved by a group of kids who make a huge surfboard in order to refloat it. “In terms of complication, though, the BP Sumo cars spot was quite a challenge. It involved cars on a round platform floating in the sea having a sumo-style contest, trying to push each other into the water. Another complex job was for EA Sports where we had to recreate a judo scene, a kick-box-

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n The Santa Casa 5% campaign

ing scene, a US stadium and a Brazilian scene, all in three days. The stadium scene was achieved with rows of bleachers in a six-sided stadium and 200 extras, which was then made to look like a crowd of thousands in post-production.â&#x20AC;? GreenGo also made a spot for the film Rio, which had Jamie Foxx on the beach in Rio de Janeiro, descending on a zip line, in costume, into a pool of blue feathers. According to Steve Solot at the Rio de Janeiro Film Commission, his office is being bombarded with shooting requests. â&#x20AC;&#x153;Since the end of filming of Fast & Furious 5 last November, it has been non-stop. And on top of that, the film Rio has really focused peopleâ&#x20AC;&#x2122;s attention on this cityâ&#x20AC;&#x2122;s great sites and tourist spots, which has had a very positive effect generally.â&#x20AC;? Although the cityâ&#x20AC;&#x2122;s favelas may seem to still be no-go areas, Solot sees them very differently: â&#x20AC;&#x153;There is a very active â&#x20AC;&#x2DC;pacification programmeâ&#x20AC;&#x2122;, fully supported by the state secretary of security, which is working very well because it is being done with real imagination. For example, there was the Five Times Favela film, which featured stories of and by favela dwellers did well at the Cannes Film Festival and is changing outsidersâ&#x20AC;&#x2122; opinion of these areas, but one of the most significant changes was the installation of a 3D cinema in a favela known as Alemao, where the locals get a discount. The positive effect it has had on the community is quite remarkable. And itâ&#x20AC;&#x2122;s important to remember that the favelas are not just shanty towns, they are a huge source of labour for the city.â&#x20AC;? ^ FRIDAY, JUNE 24,2011

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MEXICO

Talking up

Mexico Mexico has what it takes to be an advertising A-lister — great locations, a deep creative tradition, abundant talent, excellent facilities — so why is it still playing catch-up to the US? Gary Smith reports

HERE are many misconceptions about Mexico, the biggest and most inaccurate being that Mexicans are lazy. In fact, Mexico is one of the most hard-working nations in the world.

Another widely held idea about the country that is, however, true is that the Mexican advertising sector has not yet found its own form of creativity. “Being such a close neighbour to the US has tended to make agencies mimic what they see across the border, because it is regarded as aspirational,” says Alejandro Cardoso, CEO of Publicis Latin America. “So despite the fact that Mexico has deep roots in art, architecture and film, and has its own very individual sense of colour, we are not seeing that expressed in ad campaigns. But it’s something I feel very deeply about and I’m committed to changing it.” Change is partly being forced by the arrival of the greater accountability that comes with digital technology. “Digital is growing fast and the work is evolving rapidly,” says Hector Fernandez Maldonado, joint-general director and vice-president of creative at Publicis Mexico. “What is changing is that agencies are increasingly interested in pleasing consumers as much as clients. And since digital started to erode the dominance of TV, they are very bothered about what they say about brands, especially when it goes viral.” He adds: “We are very optimistic about the future. What we’d really like to see is Mexico better represented at events like the Cannes Lions.” The Mexican Association of Filmmakers (AMFI) has been working for the last 30 years with a group of commercials producers dealing with production-related issues in Mexico. This entails developing tools and criteria to improve and professionalise the industry and to negotiate, as a group, benefits for its affiliated producers. “Mexico’s production standards are very high,” says Carlos Barrón Noé, director general of AMFI. “Mexican technicians and production crews have always been among the best qualified in the world, thanks to our motion-picture industry and the production services we provide to foreign clients, especially those from the US.” AMFI members also work in the production of local ads, which is a large market comprising about 3,500 TV commercials a year for national broadcast. “We believe the volume of local spots will grow considerably over the next few years thanks to the spread of cable TV,” Barrón Noé says. One of Mexico’s most valuable resources is its people. “Our members range from well-known directors through to young directors at the beginning of their careers who are doing inter-

esting things,” Barrón Noé, says. “We have production companies for all tastes and requirements. And, as I just mentioned, the quality of our technicians is also a significant attraction for producers who are thinking of coming to film here in Mexico.” Mexico’s geography and climate — two essential elements in the production business — are also a great advantage. Barrón Noé elaborates: “We have deserts and tropical rainforests, the Caribbean and the Cortes seas, and our architecture goes from colonial houses to state-of-the-art, intelligent buildings. To be honest, you can find almost any location you need in Mexico,” he says. “And we also have a good infrastructure, with the most modern sets, audio studios, post-production services, restaurant services and equipment-rental services.” There is also a valuable tax-exemption programme and AMFI now has total support from the country’s film commission. “On top of that, Mexico is in a very strong geographical position, being close to the US and easy to reach from both Europe and Asia. All of these elements make filming in Mexico a great experience,” Barrón Noé says. Given the number of negative stories about Mexico’s warring drug barons, worries about security are a major concern for AMFI. “This is an important issue and, at the moment, there are some places we wouldn’t recommend for filming purposes,” Barrón Noé admits. “But we are talking about only a very few places along the border with the US. Mexico is a big country and drug-related violence is located in very specific areas. So saying that it’s not safe to film in Mexico is a bit like saying you shouldn’t work in the US because of tornados. You certainly don’t want to be working in tornado country during the tornado season, but that does not mean you have to avoid the whole country. The same thing goes for Mexico. There are some areas you should stay away from, but most of the country is perfectly safe.” ^

n Publicis’ Alejandro Cardoso: committed to change

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A southern love a

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affair

Filmmakers love Southern europe. It boasts a bewildering variety of location types, micro-climates and coastal areas — and the region is also finding that the tightening of industry budgets plays to its natural strengths. Gary Smith reports r Gucci campaign by Filmmaster

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COMMERCIALS AND PRODUCTION SERVICES MILAN · ROME · MADRID · DUBAI · ZZZ ÀOPPDVWHU FRP

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n The Lancia shoot in Teide national park, Teneriffe

HILE life in Greece right now may be temporarily less stable than the locals would wish it to be, the economic situation is driving local production companies to raise their game after a decrease of about 30% in turnover last year. “Business was slow,” admits Spiros Mavrogenis, executive producer at Lynx and president of producers’ association PACT. “But to address the crisis, production companies are trying to find creative solutions for agencies and brands at reduced costs in order to keep business moving. “This effort seems to be having beneficial effects and, production-wise, Greece is one of the most cost-effective countries in Europe thanks to the combination of highly professional crews, one of the mildest climates in Europe. “Greece is currently a rapidly growing production service destination because the crisis, and the consequent price reductions have become a challenge for local production service companies who are determined to make the country even more attractive than it already is.” The majority of foreign work comes from France, Germany, the UK, Italy and Poland, with Russia, the US, Japan and the Middle East also regular visitors: “There also seems to be a growing interest from Scandinavian countries,” Mavrogenis says. “In terms of sites, the Olympic facilities are still quite popular, especially the Olympic stadium by Santiago Calatrava. But, apart from the famous and obvious places such as the ancient ruins and the iconic Cycladic

“PRICE REDUCTIONS HAVE BECOME A CHALLENGE FOR PRODUCTION SERVICE COMPANIES WHO ARE DETERMINED TO MAKE THE COUNTRY EVEN MORE ATTRACTIVE THAN IT ALREADY IS” Spiros Mavrogenis, Lynx islands, Greece has a lot more to offer. We have a very wide variety of locations ranging from mountains, canyons, lakes, rivers and large fields, through to impressive modern interiors, plus both modern and classical exteriors, covering most location requirements.” Tenerife and its surrounding forest and volcanic landscapes are among the most striking in southern Europe, unlike anything else in the region. It also offers a variety of roads types and surfaces which have made it a firm favourite for car adverts. “There is a pine forest in Teide national park where the trees are arranged in long, perfect straight lines, which is a popular location, and then there other parts of the forest which are denser and wild-looking,” Concha Diaz, Tenerife film commissioner, says. “And cutting through them we have so many different styles of road, which is why this year we have had shoots for Nissan, Ford, Toyota, Ducatti and Lancia.” FRIDAY, JUNE 24,2011

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On top of that, the island’s dramatic, lunar look is currently playing host to the set of Clash Of The Titans II. “Although perhaps Tenerife is best known among the advertising community as a great place to shoot cars, we also attract plenty of other product categories,” Diaz says. “Recently Nestea shot a campaign here for Germany, National Geographic and also Samsung have recently shot a spot. Generally, business has been very good so far this year, with 36 productions up to the end of March.” Newly appointed Maltese film commissioner Peter Busuttil reports that the island has been having an excellent 2011 with, among other major productions, the whole of the HBO series Game Of Thrones being filmed on Malta and in Ireland. “We have also recently welcomed several Italian TV movies and series, as well as The Last Romans, which was a Russian production, plus generally we are seeing more productions from India,” he says. “The latter is not yet a question of big Bollywoodtype projects but that sort of thing is of course what we are aiming to attract here, after several interesting but lower-budget productions used the island.” After a total of 297 filming days in 2010, there have been more than 200 already this year. “We have Sky TV filming the 13-part series Sinbad at the moment, and they’ll be here until 2012,” Busuttil says. “And Brad Pitt’s new feature film, World War Z, will be shooting here imminently. Malta has so many amazing locations, but one aspect that I think people overlook is that this is a great place to be when you’re not on set. The cast of Game Of Thrones were here for long periods and I know they were perfectly happy to stay on the island when they weren’t needed on set, because there are so many ways to relax and have a good time here.” That said, Busuttil is aware of the island’s limitations in other areas: “We still have room for improvement in plenty of ways. Although we have the infinite-horizon water tanks, we still need a proper sound stage in order to be able to provide everything that a movie needs. We know what needs doing and

n Filmmaster’s spot for Pirelli

“GIVEN THE FACT THAT A LOT OF THE LOCAL BUSINESS HAS COLLAPSED ... WE HAVE BECOME ‘A PRODUCTION COMPANY BASED IN ITALY’” Karim Bartoletti, Filmmaster what needs to be improved to take the island and the film commission office to the next level. We have a strong base to build on from what was done previously, but I intend to further improve our offer.” Recent shoots in Malta include a spot for MasterCard, a six-day shoot for French Connection UK and a spot for Italian tuna brand Tonno Nostromo. Karim Bartoletti, partner and executive producer at Milan/Rome-based Filmmaster, and a member of this year’s Film Craft jury, is currently involved in the radical transformation of a company whose core business used to be largely local. “Filmmaster is 35 years old this year, which, compared to the normal lifespan of a company in this sector, is quite exceptional,” he says. “But our business is changing so profoundly and so rapidly that we have adopted a completely different mind-set. “Given the fact that a lot of the local business has collapsed, instead of thinking of ourselves as an advertising production company, we have become ‘a production company based in Italy’. One of the reasons we did that is because our business has become global. We get calls from all over the world, we shoot all over the world, we do service jobs for companies across the world, and we also source directors from all around the world, and that makes the boundaries of our business almost non-existent.” Although the company’s focus has become much more global, Gucci and Pirelli are two regular and important clients. FRIDAY, JUNE 24,2011

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“Those two companies present perfect examples of how our business has been transformed by changing technologies and instantaneous communication. We have a long-established relationship making spots for Gucci, and their agency, REM, asked us to make a stills-based behind-the-scenes [BTS] record of one of their print campaigns by German photographers Mert and Marcus. The work has since become more complex, and we have ended up making a video version of the BTS that complements

n Director Felix Fernandez de Castro shot this spot for Iberdrola over five days in Asturias, Guadalajara, Valle de Aran, Madrid and Salamanca

and relates to the print campaign. “And for Pirelli we were asked to make a corporate film that could also serve as advertising, and which reflects both the company’s five-year plan as well as how cool the brand is, and their range of tyres. It was shot from the point of view of the tyres across multiple terrains.” In Spain the local market is also “very quiet”, according to TF7-TV executive producer Ivo van Vollenhoven. “Local jobs are pretty scarce right now, and most of our work recently has been coming from the UK thanks to the run-up to the Olympic Games, plus we also have a steady stream of jobs from Harry Tracosas’s Global Production Network,” he says. “But our most challenging job in the last year was Nike’s Write The Future campaign, directed by Alejandro Gonzalez

“TRYING TO GET WAYNE ROONEY, DIDIER DROGBA, FRANK RIBERY, RONALDINHO PLUS KOBE BRYANT AND ROGER FEDERER THERE AT THE SAME TIME WAS NEVER GOING TO BE EASY” Ivo van Vollenhoven, TF7-TV Iniarritu (21 Grams, Nine Lives, Beautiful). The production was based in Madrid because Ronaldo was a key part of the plot, but trying to get all the other players and actors like Wayne Rooney, Didier Drogba, Frank Ribery, Ronaldinho plus Kobe Bryant and Roger Federer there at the same time was never going to be easy. “On top of that, the weather was so bad we had to re-schedule, and find an indoor arena that could be made to look like an outdoor football stadium in post-production. Eventually we ended-up shooting for 13 days instead of five, but the end result was spectacular and the film is in competition at Lions.” TF7-TV also shot mini-documentary The Imposter with FRIDAY, JUNE 24,2011

director James Marsh (Man On Wire) about a professional conman who impersonates adolescents who have disappeared. He ends up being adopted by a family who have killed the son they claim has gone missing. “There were a number of challenges including a small budget and only eight shooting days, but I’m proud of what we achieved.” Paula Mattei, international director for Spanish service company Puente Aereo, is based in Buenos Aires but has been charged with broadening the international business of a company that previously largely drew its business from Spanish agencies. “I’m selling the company’s directors all over the world alongside a colleague in the Barcelona office,” she says. “Puente Aereo was always well known for its directors, which includes people like Felix Fernandez de Castro. Felix was one of the original founders of the agency SCPF and is one of the most admired directors in Spain. He recently shot a beautiful spot for Iberdrola over five days in Asturias, Guadalajara, Valle de Aran, Madrid and Salamanca.” Other work from Puente Aereo currently on show includes a spot for Pepsodent by Sebastian Alfie. “It was shot in Argentina as well as in Jakarta and India,” Mattei says. “It’s particularly memorable for the scenes with the father and son who are constantly in the bathroom grooming themselves.” In Portugal, Margarida Adonis of Ready To Shoot reports steady business over the last year, mainly from the UK, US, Japan, Brazil and Spain. “We only do international shoots and in general we work with producers from pretty much everywhere in the world,” she says. “We recently worked on a huge worldwide campaign for an alcoholic beverage that I can’t name at the moment. But I can say that the campaign is huge and beautiful, and a bit crazy. We also have just shot a Latin American campaign for Rexona and one for the Meteor Travel Agency in Ireland.” But Ready To Shoot’s most complex job of recent months was three web films for Aston Martin. “We were working with Serious Films and only had three days to get the job done. That would have been a tight schedule anyway, but then Barack Obama was in town for a UN meeting, so the security was very intense, we were not able to close roads as we would normally have done and, to top it all, our helicopter was shadowed constantly by the secret services who were also listening to our radio communications. This was not entirely surprising, as the films involved explosions and fake guns, but it was a truly surreal experience.” Other recent shoots include Renault Korea, Samsung Limousine, a VW spot, Movistar for Spain and a Tylenol spot with director David Cornell. Eduardo Palacios, of Valencia Spectrum, operates between Valencia and Miami. “I spend the Spanish winters over there, but I have to say that Valencia is extremely well equipped,” he says. “The Ciudad de la Luz has one of the biggest sound stages in Europe. Right now we are seeing a lot of business from the UK and more shoots from the US now that the dollar is getting stronger.” Palacios is currently involved in trying to put together a local association of advertising producers. “There are five members at the moment and the inspiration behind the idea is that this area has so much to offer, we think we can better publicise that with a group effort,” he says. “We have great local talent thanks to the fact that there have been waves of immigration from France, Romania and the UK. “There are all the facilities of Ciudad de la Luz and I can say with confidence that the technical offer here is every bit as good as Miami; the only difference is that there is more competition over there. There is also an excellent variety of architecture, to the point that we can easily do Paris and have even managed to get a low-rise Manhattan look for a couple of spots.”^

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portugal

reprofiling

the crisis when brussels starts sprouting new words, you know the global economy is in trouble. or do you? Ricardo Costa, editor-in-chief of expresso, ponders on what advertising can learn from political creativity

S THERE any connection between the economic crisis and creativity? nobody knows for sure, me included. but one thing i’m certain of: the recession in which portugal will spend the next few years will not diminish the creativity or imagination of our advertisers. a country and a market of our size has this advantage: actually, we do not know what it is to live without being in a crisis. and that’s a huge advantage for us over our competitors. creativity, efficiency, imagination and art do not depend on more or less money or more or less investment. does a growing market, eventually, facilitate talent? undoubtedly. but also some waste. and waste is a luxury that the portuguese cannot afford to have in the coming years. talent exists and will be exploited more effectively in coming times. even politicians have realised it. and when politicians find things quickly, everyone should stop and think why. even advertisers. european politics is a fantastic example of creativity. despite the fact that these days the european project is somehow unhealthy and the future seems bleak, this crisis proved that politicians are some of the best advertisers in the world. for years the word “restructuring” was banned in europe. sovereign debt restructuring, of course. the word was banned and the mechanism to do it as well. but as the problem was growing and restructuring gained momentum; the solution found was brilliant. last month, european politicians have started talking about debt reprofiling. reprofiling? yes. i bet that the reader had never heard of it before and the reason is simple. because reprofil-

reprofiling is a great idea. it avoids the forbidden word and invents a way to face the market with redoubled confidence ricardo costa ing did not exist in finance or politics. but now it exists and in practice means the same thing as restructuring. the word caused a huge buzz and confusion. reuters did a piece entirely dedicated to reprofiling. economic newspapers dedicated full pages and tons of articles to discussing the word. i like this example because reprofiling is a great idea. it avoids the forbidden word and invents a new way to face the market with redoubled confidence. it was a super rebranding of the debt crisis in europe. a great idea. but, as in everyday advertising campaigns, having a good idea or theme is not enough. you have to find a way to reach the consumer in order for them to buy your product or service. it’s the same with politics. if brussels eurocrats do create and sustain a policy as innovative as the word they found to define it (reprofiling), then we’d go from a big idea to a possible sell. see you all in lisbon in november for eurobest 2011!!^

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FILM COMMISSIONS

Hello? We need a Thai floating market,

and fast!

To the uninformed, a film commission is there to issue filming permits where you turn up to shoot in another state or country. But these days they are proactive, attracting stills and commercials shoots to their regions, as well as movies — and they have a lot to offer on the creative side too. Debbie Lincoln reports

ILM Commissions can be a valuable resource for commercials producers. They are there to ease the pain of shooting, and can help with identifying locations, preparing and granting permits and even cast and crew. Las Vegas-based Charlie Geocaris, from the Nevada Film Office expects to see 40-50 commercials shoots each year in his region, representing about 15-20% of total location shooting in the area. “We specifically try to attract commercial productions through advertising and other target marketing,” Geocaris says. Popular locations for commercials include the famous strip in Las Vegas, as well as dry lake beds, the roads in the Valley of Fire and Red Rock Canyon, Lake Tahoe and Lamoille Canyon. “We see a variety of different types of commercials but automobile and truck commercials are the most popular,” he says. A recent example for which the film office provided location scouting and permitting assistance, was a spot for Dodge autos. The film commission in Saskatchewan, Canada, is also able to source a variety of open spaces for commercials shoots. “’Land of the living sky”, is on every Saskatchewan license

FRIDAY, JUNE 24,2011

f A floating market constructed in Indonesia for the Amsterdam-based Balsa Films’ shoot for client Conimex, directed by Othmar Freder Sweers, and produced by John Langeveld

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FILM COMMISSIONS

f Annabelle Aronis, executive producer, Avion Films: “Greece offers sound stages from 1,200m2 to 200m2 with excellent set builders and support”

j The 2010 shoot in Jordan for Indian telco Micro Max, produced by Curious Films for Lintas Lowe

plate,” SaskFilm’s Tobi Lampard says. “The open prairie to the north, forests, the endless horizon is the calling card of Saskatchewan. The climate offers long sunny days in the summer and crystal clear skies over pristine snowy winter landscapes days. Over recent years ad agencies have achieved beautiful looks for variety of clients that include the provincial power, energy, telephone and cable companies.” She adds that SaskFilm’s goal is to help find the location that works for creatives, regularly emailing links to photos from its location library for quick review. The film office also boasts a film-friendly attitude in the sate. Indonesia also uses the variety and availability of its locations to lure commercials producers to the area. The Bali Film Center’s Deborah Gabinetti cites “the diverse range of locations, varied architecture, abundant crops (coffee, cocoa, coconut and tea plantations), unique flora and fauna, vast water-based areas and the number of different ethnic groups,” as her region’s main attractions. She also echoes Nevada’s Geocaris with her estimation that commercials represent some 20% of all international filming in the region, at around 20 per year. A recent shoot was for Netherlands-based Indonesian food brand Conimex. Balsa Films from Amsterdam ran the shoot for the spot with director Othmar Freder Sweers and producer John Langeveld. “Our office facilitated the national and provincial permits, local permissions, provided research, locations and casting services,” Gabinetti says, adding: “We also have an extremely gifted pool of craftspeople able to recreate almost anything.” The Conimex shoot called for locations to represent a contemporary Dutch kitchen and Balinese traditional market, and mimic a Thai floating market. According to Elliot Au from The Hong Kong Film Services Office (FSO), the city state was the first place in Asia to establish a film services office (FSO), opening in April 1998 to promote Hong Kong’s film industry. “The FSO provides one-stop services on location filming for film crews, including sourcing suitable locations, assisting in obtaining filming permits, securing location venues for filming, as well as regulating the use of pyrotechnic special effects materials, Au says, adding: “Since 2009, the FSO came under Create Hong Kong, a dedicated agency to champion and drive the development of the creative economy in Hong Kong.

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FILM COMMISSIONS

n Fernando Uriegas, general director, Mexico Film Commission: “The reason that Mexico City is a perfect place to shoot is due to the richness and varieties of locations. You can find pre-Hispanic, colonial and modern buildings”

The Hong Kong FSO also encourages visiting producers to hire the services of a local fixer for transportation, accommodation, and casting help. “We are very interested in attracting a lot more international advertising to Jordan, as it provides some amazing untapped landscapes,” Linda Mutawi, production services manager at The Royal Film Commission-Jordan (RFC), says, adding: “Jordan is well known for amazing hospitality and the skilled workforce is very efficient. Also, filming in Jordan is considered very cost effective, and has the added benefit and support that the Film Commission offers, such as access of free publice locations, assistance with scouting and securing locations, custom exemptions on equipment imports, no income taxes on foreign cast and crew, liaison officers, and help with government paperwork.” Mutawi estimates that 30% of shoots in Jordan are for commercials, between 20-30 per year. A recent shoot to take advantage of this help was for Indian telco Micro Max, produced by Curious Films for Lintas Lowe. “Since in TVC involved lots of pyrotechnics and use of weapons, the RFC was instrumental in importing and liaising the rental of these materials through the army and police, as well as pro-

viding a police presence on set,” Mutawi says. “Our Film Commission is pretty new,” Lucila Bortagaray, of the Uruguay Film Commission & Promotion Office says, but it already participates in several expos and markets to promote locations. “Our main incentive is a VAT exemption of 22%,” she says, along with diverse landscapes and eclectic architecture, including “colonial style, through Art Deco up to futurist structures such as Carrasco’s new International Airport”. The area sees a high percentage of commercials, 110 in 2010 in Montevideo alone. The Mexico City Film Commission is also relatively new, but within its two years of operation has established a presence at events in South and Central America, the US, and Spain. Fernando Uriegas, general director of the Mexico City Film Commission estimates that 27% of some 1,780 shoots in the city are commercials. “We promote Mexico City in both national and international ways. We have been assisting at several festivals to offer all the production services that you can find in Mexico City. We are also developing online tools where you will be able to find locations, production services, production companies and all the permit information,” Uriegas says. Recent produc-

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FILM COMMISSIONS

n Greece’s Green Olive Films serviced the Omega shoot with ASAP Production of Italy for agency Eye to Eye

tions in the Federal District of Mexico City have been for Volkswagen, General Motors, Panasonic, and Trident — and most commercial shoots are for TV. The Commission gives guidance to crews, and also offers alternative suggestions when needed. “We also have all the contacts with public authorities and institutions to help them during their production.” Markos Holevas from Greece’s Hellenic Film Commission says that while his office doesn’t have a dedicated policy directed specifically at commercials producers, it can help with arranging shoots in Greece, and has been working with the Film Office of the City of Athens to facilitate shoots. Recent examples of successful shoots in Greece include TVCs for Infiniti, Samsung and Omega, by Green Olive Films. The company’s executive producer, Simos Manganis, says: “In recent years we estimate around 150 shooting days annually in high-end professional formats for commercials and TV; for commercials we anticipate 70 shoot days per year.” The attraction of Greece for commercials producers is summed up by Athens Central Film Productions executive producer Andreas Tsilifonis: “Great weather with low precipitation; long daylight shooting days; convenient short flights from all European capitals; multi-ethnic casting options; experienced English-speaking crews; a wide variety of locations, including several sport stadiums from the recent Olympic Games; and last but not least, the lowest rates in Euro zone.”

Annabelle Aronis, executive producer at Avion Films, says that in recent years, Greece has been attracting commercials that don’t only require clichéd Greek locations, like temples, white houses and beaches. “Greece is also attracting commercials that have other location requirements — for example contemporary interiors and exteriors, urban landscapes, roads for car commercials, and Northern European nature including lakes, rivers, mountains,” she says. “Not to mention shoots in studios with big set builds, as well as table-top productions with motion control and mock up construction.” Pierrette Baillot from the Brussels Film Office in Belgium says that her office strives to “create a frame to guide the commercial producers”, especially concerning the problems of shooting in busy cities where timing is an important factor, specifically where permits are concerned. She also stresses that “harmony within local neighbourhoods” is important to ensure that the city remains film-friendly. For a recent shoot for a TV commercial for food brand Nutella, the Brussels Film Office negotiated with police authorities, in their offices, to arrange closing streets and reserving space for parking. These negotiation skills, sensitive to a local area, are powerful components in the toolbox of film commissions around the world, and Baillot identifies another attractive offer: “Our office’s services are free of charges.” Slam-dunk.^

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FOCUS ON CENTRAL & EASTERN EUROPE

Go east, pay least

n Wroclaw in Poland, an important centre for production that has doubled for 19th century Amsterdam

Prices have risen in the Czech Republic and Hungary, competition from neighbouring countries has intensified. But Central and Eastern Europe is still the location for low-cost, well-supported shoots. Andy Fry reports

T IS not hard to see why ad agencies and commercials producers are drawn to Central and Eastern Europe. From classic and iconic architecture to stunning scenery, the region has it all. Not only that, but there are talented, hard-working, cost-effective and multilingual production crews. Compared with western Europe, shooting is at least 30% cheaper, and sometimes as much as 40-50%. Of course, all this begs the question where to shoot. If you include Russia and Ukraine, there are about 21 countries competing for work — many of which are able to put forward a strong case. A good starting point is the Czech Republic and Hungary, which have set the standard in the region for the last 20 years. Attractive locations, good crews, professional casts and minimal bureaucracy are givens in both markets. Add to this the fact that many global ad agencies have their regional HQs in Prague or Budapest, and there’s a clear logic to shooting here. To understand the Czech Republic’s strategic significance, you only have to look at a map. Adjacent to Germany, Prague is actually west of Austrian capital Vienna, which makes it a per-

fect staging post for agencies and brands with ambitions in the east. No surprise, then, to find Publicis, Omnicom and WPP all active, alongside regional agency players such as Kaspen/Jung von Matt. Typical of the production talent pool in the Czech Republic is Zoom Films, whose portfolio includes work for international brands such as Samsung, Hyundai, Bavaria, Kraft Chocolate and Haagen Dazs. No less significant are campaigns for brands closer to home, such as the 2011 shoot for Czech bottled water brand Aquila Aqualinea (a campaign managed by Arnold Worldwide). Of course, Prague is known enough that campaigns don’t have to be orchestrated from within Europe. A classic example is a recent Prague shoot for the LG Optimus One. Here was a Korean brand, managed by a China-based agency (BBH Shanghai), using a US director (Backyard’s Rob Pritts) to shoot five comic spots (Instant Expert) for the international market. That’s a pretty good endorsement of the city’s capabilities. And there’s one bonus for directors like Pritts, which is that the city is far more film-friendly than Backyard’s hometown, FRIDAY, JUNE 24,2011

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FOCUS ON CENTRAL & EASTERN EUROPE

n Superdog spot from the Pannon GSM campaign in Hungary

FRIDAY, JUNE 24,2011

Los Angeles. “These spots would not have been possible in LA unless we were working on a back lot,” Pritts says. “The city is so film-friendly — if cars are parked on the streets, they move them with an enormous machine, then put them back on their original positions when we’re done, without towing or ticketing people.” In Hungarian capital Budapest there’s a similar set-up. Here, you find regional offices for agencies such as Leo Burnett (Publicis), McCann Erickson (IPG), Euro RSCG (Havas) and O&M (WPP). Operating in parallel are production companies such as Extreme Film, set up by producer Dalma Hidasi in 1994 and now working for local and international brands. Among the latter, Extreme can count Danone, SABMiller, Bacardi, Michelin and Nestle. Echoing the situation at Zoom Films, there are also heavyweight TV campaigns for local brands such as mobile operator Pannon GSM. David Ungvari, producer/director at Budapest-based BPPS, says: “Hungary has great crews, awesome locations, low wages and a favourable tax system [for films]. At BPPS, we can offer full production services, meaning everything from location scouting through to world-class post-production. ” Like the Czech Republic, Hungary also boasts a stunning capital. “Budapest is a city with many faces. From one angle it can look like Paris, from another London or Berlin. It is probably the most eclectic city in Europe. A modern glass office block can be situated by a 100-year-old near-ruin and a ’60s building.” While there’s not much between the Czech Republic and Hungary, the latter is probably the better developed, with more production companies on the ground and a slightly superior infrastructure. This is most evident in terms of studios, Ungvari says: “The constant rivalry between Prague and Budapest has resulted in immense investments in Hungary, to regain its market-leader position. Two large studios emerged in the past five

years [Etyek and Raleigh]. Both offer world-class sound stages, their sizes unmatched in the region. Etyek has the largest sound stage in the world. Hellboy 2 was shot there in its entirety.” Given the strength of the Czech and Hungarian offering, how do other countries in the region try to win business from them? Generally there are two arguments. Firsty, that Czech and Hungarian locations have been over-used and fresh (but similar) images can be found further afield, Second, both markets have become expensive in recent years. Elsewhere you can get a 20-40% cost reduction. One location proving increasingly popular for international shoots is Serbia. Back on track after the Balkan conflict, the country is open for business in a big way, says Milos Djukelic, of Red Production. With offices in Serbia, Montenegro and Croatia, Red has provided production services for more than 400 commercials over the last seven years for clients such as Henkel, T-Mobile, Interbrew, Unilever, P&G, Societe Generale, Siemens, Tefal and Pepsi. Equally passionate about what Serbia has to offer is Bozidar Djokic, of Belgrade-based Emote Productions, a company that works across feature films and commercials. What are the benefits? “Serbia is 30% cheaper than territories such as Hungary, Czech Republic, Romania, Bulgaria, Slovenia, Croatia and Greece, while providing a high-quality infrastructure, workflow, facilities and locations,” Djokic says. “Serbia has outstanding talent in photography, set design, costume, make-up, thanks to having one of the strongest film industries in south-eastern Europe. “Our crew and talent have worked on films with Ridley Scott and Luc Besson. At Emote, we produce quality commercials for domestic and international clients. Our MTV spots last year won the David award for Best TV Commercial within Ogilvy’s European branches. This year we have spots competing at the YDA and Fireflies competition in Cannes.”

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In addition to low production cost and great crews, djokic talks up the locations: “we shoot in montenegro, the mountains, the seaside, everywhere. the good thing is that all of the locations are very easy to reach from belgrade. serbia is an unbelievably film-friendly community; licences, helicopters, closing down of streets, squares, tunnels, getting planes, it’s easily attainable.” one person well placed to judge the competing claims of locations is laurent grousset, a senior consultant with bird bonette stauderman. grousset, an expert on production practices and cost management, has not yet visited serbia, but he has been working in other former yugoslavian territories such as slovenia and croatia. “the first thing you always think about is the story, but after that it’s the cost and the quality of the crews. for me, slovenia and croatia have both been good locations.” other markets grousset has visited in the last couple of years include romania, bulgaria and ukraine. the last is particularly interesting, because it has in recent years started emerging from the shadow of the old soviet union. today it is home to a handful of top-notch production companies including psbfilms, a 10-year veteran which has produced domestic and international spots for the likes of p&g, samsung, pepsi, stella artois, kraft foods, unilever, danone and toyota. based in kiev and odessa, just two hours from any west european city, psb offers production service in english, german, french and hebrew. arthur fleshtor, at another leading ukrainian commercials producer, gulliver, expands on the market’s appeal: “foreign companies like to work with us because of the balance between quality and price. at gulliver, we have the equipment base to suit any demands. we also have many local directors, dops and good post-production, all of which makes ukraine attractive.”

“If cars are parked on the streets, they move them wIth an enormous machIne, then put them back on theIr orIgInal posItIons” rob pritts, backyard In addition, fleshtor believes that ukraine has an advantage in locations. “our territory is quite large, so it goes across different climate regions. we have the carpathian mountains, the black sea, beautiful cities and nature. all of these elements mean that you can find any solution for any shoot.” among other former soviet satellites attracting attention is latvia. emerge film solutions, a commercials production consultancy, is positive about the baltic state, calling it “a filmfriendly country where permits take usually no more than a week”. with a variety of rural and urban locations on offer, latvia, emerge says, is a head-turning 40% cheaper than the czech republic. In terms of locations, part of latvia’s appeal is capital riga’s historic city centre, which can double as paris or vienna. like ukraine, it can also offer stark soviet-style architecture. not to be overlooked, either, is the remote beauty of its countryside. In 2009, when creative agency nitro and producer academy films wanted a scottish location for a drambuie spot, they chose latvia because of its low costs and good production values. with the help of local service company baltic pine films, the ad was shot near kishezers, a major lake on the outskirts of capital riga. other companies operating out of riga include film angels,

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foCus on Central & eastern europe

whose current showreel includes automotive brand skoda. then there is russia itself. While the country is geographically out on a limb, there’s no question that it is becoming a force to be reckoned with in the advertising business. in part, this is because of the diversity of its architecture and locations — everything from the kremlin and Bolshoi to mountains, lakes and tundra. But just as significant is the value of the domestic economy, which is proving a big attraction to brands and agencies, most of which have offices in moscow. it’s no accident, for example, that russia will be represented by 295 works in Cannes this year. or that a leading agency such as BBdo/moscow is making as many as 200 commercials a year. in terms of production talent, russia can boast companies including Just production (clients include american express and siemens), park production, (Coca-Cola, heineken, lG, mars, etc) and Bazelevs, which has recently produced spots for nissan tilda, nike air max (featuring andrey arshavin) and kit kat. the latter ad, directed by Cannes lions gold winner Joachim nielsen on his fourth visit to russia, demonstrated the can-do attitude of russian crews. it was shot in front of the hotel ukraina at the height of moscow summer heat, and nielsen insisted on a stunt which saw the central actor dropped from height into an armchair something lesser mortals might have achieved using computer graphics. for Bazelevs’ iva stromilova, executive producer in charge of movies and commercials, there is no doubting the calibre or enthusiasm of the local talent. But for her, shooting in russia offers more: “here in moscow you have everything a civilised production should have. But on top of that you get to shoot in the most picturesque locations, meet the most beautiful russian women, and go to fun night clubs and great restaurants!” of course, it’s important to stress that the Czechs and hungarians haven’t been sitting back complacently while new markets promote their cause. Zoom, for example, now offers a choice of locations in the Czech republic, slovakia and Croatia. not only does this widen the range on offer, it also allows it to offer lower price-points. in hungary, meanwhile, companies such as Bpps are trying to reassert the cost-effectiveness of shooting in that country. “hungary is still an inexpensive place to shoot — particularly after the financial crisis,” ungvari says. “the prices haven’t changed all that much in the past few years. Bpps is a small company with extremely low operational costs, which is how we keep our overheads low. i would rather have more jobs than a quick profit.” if there’s a challenge for the whole of the Central and eastern european region, it’s that production companies in other parts of the world have also been getting cheaper as a result of the economic downturn. Grousset says he has been going to eastern europe less in the last year “because producers in markets like spain and france are willing to negotiate

“We have the Carpathian mountains, the BlaCk sea, Beautiful Cities and nature ... You Can find anY solution for anY shoot” arthur fleshtor lower prices than they used to. that comes at the same time as many advertisers are looking to use more local people in their ads and shoot one campaign for a number of territories. so it is a challenging business right now.” poland should be talked about more in the context of commercials production. after all, it is home to a vibrant agency and production base. local production houses include tandem taren-to, easy hell, film Works, film it and lodz-based opus (which reckons to shoot 60 international and local ads a year). there are also post-production houses including the Chimney pot, which has worked on spots for the likes of orange, danone, nestle, knorr and Zywiec. part of the reason poland has been slower to gain profile is that it took a long time to shake off the grim image that stuck after the collapse of the soviet union. even now, Warsaw lags behind prague and Budapest as a desirable destination. that said, those in the know — such as emerge films solutions — talk up poland’s appeal as a rural and an urban location: “there are three main cities of filming interest. Warsaw, a modern city with a full variety of easily accessible urban and suburban looks; krakow, probably the most charming and picturesque city in poland; and Wroclaw, an important centre for production that has doubled for 19th century amsterdam.” there are reasons to be optimistic about the country’s prospects when it comes to commercials production. first, it is a much bigger market than the Czech republic or hungary (38 million vs 10 million each respectively), which means there will always be a need for domestic ad production, even if servicing work is not strong.second, it is about to co-host uefa’s euro 2012 with ukraine, an event that will provide a massive stimulus to the local economy during the coming decade, and presumably see a rush of commercials linking big brands to the event. marcin herra, who is in charge of the polish half of the competition, is expecting one million extra visitors to come to poland and spend €200m during the event. longer term, herra reckons the positive impact for the economy over the next eight years will be €1.5bn-€2bn. in addition, herra believes it “gives us a chance to speed up development and modernisation of the country. it is also a chance to improve our brand the image of the country.” ^

FRIDAY, JUNE 24,2011

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