Lions Daily Issue 6

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FRIDAY, JUNE 25, 2010

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IT’S ABOUT THE WORK | VELOCITYFILMS.COM

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TODAY’S SEMINAR PROGRAMME 10.00 ORGANIC PRESENTS: BREAKING THE CYCLE A look at how Kimberly-Clark’s breakthrough digital marketing efforts in feminine-care products are engaging, enlightening and empowering young women 11.00 MDC PARTNERS PRESENTS: HOW TO BUILD AN AGENCY FROM SCRATCH Ad legends Chuck Porter and David Droga explain how to start a successful agency — and become rich, famous and feted in Cannes 12.00THE CANNES DEBATE: SIR MARTIN SORRELL TALKES TO KEITH WEED WPP’s Sir Martin Sorrell and Unilever’s Keith Weed explore what global marketing companies will be looking for in terms of media, content — and budgets 13.15 GREY PRESENTS: TIM MELLORS TALKS TO YOKO ONO The fourth annual Grey Music seminar features avant-garde artist and musician Yokjo Ono, who has promised to involve the audience on one of her ‘happenings’. Arrive early — seats will be at a premium 14.15 PUBLICIS GROUPE PRESENTS: MAURICE LEVY INVITES… Maurice Levy takes the floor with P&G’s Bob McDonald, Google’s Nikesh Arora and Microsoft’s Darren Huston 15.15 HERMANN VASKE PRESENTS: CREATIVE HEADS Director, author and producer Hermann Vaske premieres his movie of the winning submissions to his annual Creative Heads video contest 16.00AKQA PRESENTS (ESTEREL): FUTURE LIONS: THE NEW PRIDE OF THE FINEST INTERNATIONAL CREATIVE TALENT Meet the winners of Akqa’s 2010 Future Lions student advertising competition — and hire them before they steal your job

FRIDAY, JUNE 25, 2010

Weed puts Unilever’s weight behind hi-tech KEITH WEED’s presence at this year’s Cannes Lions Festival not only confirms the growing importance of clients to the festival but also their willingness to be first adopters of new technology. Unilever’s chief marketing & communications officer is in Cannes to pick up the company’s Advertiser Of The Year Award. “I think Advertiser Of The Year is great recognition of all the work done by Unilever’s marketers and ad agencies around the world,” he said.

“This is because we’ve always been leaders and innovators in advertising. We had one of the first ads on black-and-white TV. And we’re about to be one of the first to use Apple’s iAds [mobile advertising network].”

Weed has also flown in to sup-

Keith Weed: “We’ve always been innovators”

port the new smile-activated augmented reality vending machine. The company and its digital agency, SapientNitro, have installed the prototype of the new apparatus inside the Palais.

Delegates who smile into a camera inside the machine trigger a mechanism that gives out free

Unilever-branded ice-cream.

They can then share the resulting photo with family and friends on Facebook. “We’ve something that works. In return for a smile, you are rewarded with an icecream,” he explained. “We’ve gone beyond the simple internet model. You need to engage with the consumer to develop a relationship with them.” Another groundbreaking digital platform that Unilever is committed to is mobile technology which delivers retail vouchers.

“Mobile will be used in a much bigger way than has ever been done.” Weed’s vision for Unilever will be in the spotlight when he is interviewed today by Sir Martin Sorrell, CEO of global advertising agency group WPP, at this year’s Cannes Debate. ■

There’s nothing to fear from working together, Levy says

16.15 NAKED COMMUNICATIONS PRESENTS: NAKED CONVERSATION: 10X10X10 Naked’s Jon Wilkins and a panel of industry heavyweights share insights, pose thought-provoking questions and attempt to second-guess the future 17.15 BRIDGE WORLDWIDE PRESENTS: THE BURNING QUESTION: ASK IT AND TRANSFORM What do we need to do to spark change? UCLA’s Jim Stengel, Bridge’s Bob Gilbreath, AT&T’s Esther Lee and Kraft’s Lisa Mann look for the questions we should be asking ALL SEMINARS ARE IN THE DEBUSSY UNLESS INDICATED

Maurice Levy

INSIDE

THERE is a message in the panel of speakers Maurice Levy, chairman and CEO of Publicis Groupe, has assembled in Cannes.

“The advertisers, such as Procter & Gamble and Unilever, the platforms — Google, Microsoft — and the advertising agencies are partners, and we are all in the same boat,” he said.

“Our aim is to build brands and sell products. I don’t believe there is any kind of issue or threat in sharing objectives, working together hand in hand.”

The message is reflected in his panel: Bob McDonald, of P&G; Nikesh Arora, of Google, and Darren Huston, of Microsoft.

Levy rejects the view that the low-cost base and interactive potential of digital platforms are a threat to creative standards.

“I believe it is highly beneficial for the advertisers we are working to serve, to work very closely with the platforms,” Levy said.

“Agencies should not be afraid to work so closely with platforms. The cost of digital media is clearly lower than the cost of analogue. But the creative work of digital is very rich, and it is for the agencies and groups like ours to develop integrated communications and more holistic values. I don’t see any loss in values — quite the opposite.”

He is particularly interested to be in Cannes amid “signs of recovery”. “This event is always interesting. We come across some work which is fantastic, refreshing and new. When I see some of the formidable ideas, it makes my day.” ■

IT’S BEEN A GOOD YEAR FOR FILM FESTIVAL delegates are in for a treat on Saturday when the Film showreel is screened, according to jury president Mark Tutssel.

“It has been a remarkable year for film,” said the chief creative officer of Leo Burnett Worldwide. “The quality, depth and breadth of the work is quite outstanding. The filmmaking and storytelling is at an alltime high.” The showreel will feature “moving pictures that move people”, he added.

“Obviously there is a huge body of work in internet films, but there is interesting and breathtaking work on screens of all shapes and sizes. And the big, iconic brands are producing big ideas, and that is always a joy.” Rather than presenting a problem, the emergence of new platforms was a bonus, Tutssel said. “The abundance of screens has reignited our love affair with film.”

Mark Tutssel: “Moving pictures that move people”

FESTIVAL NEWS P1-13 FILM SHORTLIST P14-27 TITANIUM AND INTEGRATED SHORTLIST P29 FILM CRAFT SHORTLIST P31 FOCUS ON SOUTH AMERICA P34-43 FOCUS ON BRAZIL P45 FOCUS ON ARGENTINA P46,47 FOCUS ON SOUTHERN EUROPE P48-55 FOCUS ON GERMANY P56-57 FEATURE: 3D P58-60 SCREENINGS P63

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Here’s to small agencies with big dreams

Creative Department, Crispin & Porter Advertising, 1992

week5, droga5

HOW TO BUILD AN AGENCY FROM SCRATCH s &RIDAY 25 JU.% s 11-11:45AM s DEBUSSY Chuck Porter, Chairman, Crispin Porter + Bogusky s David Droga, Founder, Creative Chairman, Droga5 With a short but cool announcement by Miles Nadal, Chairman, MDC Partners

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NEWS

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WHAT THE FILM JURORS THINK…

57th INTERNATIONAL ADVERTISING FESTIVAL 20-26 JUNE 2010 CANNES

Publisher Richard Woolley Editor in chief Julian Newby Reporters Marlene Edmunds Juliana Koranteng Gary Smith Phil Sommerich Jo Stephens Copy editor Debbie Lincoln Lionsdailynews.com Sunnie Antonia Photographers Yann Coatsaliou Michel Johner Layout design A noir, Arnaud Paikine Valerie Mersier Christian Zivojinovic T: +33 (0)1 48 06 22 22 agence@anoir.fr Systems co-ordination Prod Events Sophia Antipolis T: +33 (0)4 93 33 12 40 Cannes Lions Daily News T: Editorial 04 92 59 01 89 T: Advertising in Cannes 04 92 59 01 91 jodlin@boutiqueeditions.com T: Jerry Odlin +44 77 6886 0417 T: Lisa Ray +44 77 98 662 955 North America Nicki Webber nwebber@boutiqueeditions.com South America Karen Watts kwatts@boutiqueeditions.com Marketing Kirsty Woolley Advertising Production Roger Hall Printer Espace Graphic, Carros o.renucci@espacegraphic.fr Green publishing The paper used by Boutique Editions is a natural, recyclable product made from wood grown in sustainable forests. The manufacturing process conforms to the environmental regulations of the country of origin Published by Boutique Editions Ltd 117 Waterloo Road London SE1 8UL T: +44 20 7902 1942 F: +44 20 3006 8796 © 2010 Cannes Lions

ANDY DILALLO, LEO BURNETT, AUSTRALIA: “It’s going to be a cracker of a year.

There is a lot of good work across all categories. Longer format and online film have stood out. We are starting to see real creativity from this medium and its ability to capture attention.”

ANDY DILALLO

MARK ROALFE, RKCR/Y&R, UK: “This is the first time we have looked back at the world’s advertising output when it was in recession. Despite that, there is some fantastic work. We are seeing new and interesting work as advertising enters a new and integrated phase. Some of the most breakthrough work is coming from branded content.”

ALEXANDRE GAMA, NEOGAMA/BBH, BRAZIL: “It’s not as good as it was three years ago, but better than last year. This clearly points to a curve of economic recovery in terms of entries and ideas. I was surprised by some weak categories, such as sportswear, but that was compensated for by some that were better than expected.”

[ treehouse north productions inc. ] MARK ROALFE

tnp A Canadian Production Service Company

ALEXANDRE GAMA

www.treenorth.com

Film craft jury seeks synthesis & balance JON KAMEN, president of the inaugural Film Craft jury, is trying not to be fooled by excellence.

“Filming is a collaborative process and always has been,” said the chairman and CEO of @radical.media. “But it’s important we separate the individual disciplines of film — the direction, copywriting, editing, use of music, sound, cinematography, animation, special effects, computer graphics — from the quality of the overall project.

But there’s a consistency to excellence, which means that a really good idea will tend to attract really good craftspeople. We keep reminding ourselves on the jury that we are defining a new category and that requires additional thinking and debate.”

The good news, however, is that the jury’s initial trawl through the 1,100-plus entries into the Film Craft category have turned up some “real gems”. “And what’s more, some gems from unexpected parts of the world,” Kamen said. It is, he added, “a wonderful sign of the advance-

@radical.media’s Jon Kamen: “There’s a consistency to excellence...good ideas attract good craftspeople”

ment in our industry” that creativity is not confined to the usual geographical suspects.

Asked to sum up what his ideal Film Craft winner would incorporate, Kamen said: “We’re still debating this question, but I think it’s the orchestration and culmination of great craft in any one project. It’s about synthesis and balance.” I FRIDAY, JUNE 25, 2010

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NEWS

Both as holograms, Richard Myers hands the microphone to Paul Arden

Paul Arden introduces the Showcase, expressing his delight that it is still alive and well

Hologram Paul Arden evaporates as his microphone falls to the ground

After Paul Arden evaporates, Richard Myers picks up Paul’s microphone to close the Showcase

Myers, in person, introduces the Saatchi & Saatchi and Aniboom Nothing Is Impossible Challenge

Nearly 3,000 delegates poured into the Grand Audi to watch the Showcase

5

Expect the impossible…

Delegates lucky enough to get a seat at the 20th Saatch & Saatchi New Directors’ Showcase really did witness the impossible — when the company’s creative director, global culture, Richard Myers, came on stage to introduce the event. “It’s 20 years since the first showcase was presented here by the legendary director, creative director, art director and best-selling author Paul Arden,” Myers said. “So wouldn’t it have been perfect to have Paul introduce this, the 20th Showcase? Bit of a problem. As many of you know Paul passed away two years ago. But then again, as we say, nothing is impossible. So it gives me a supernatural pleasure to say — ladies and gentlemen, please welcome to the stage, Paul Arden...”

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FRIDAY, JUNE 25, 2010

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NEWS

Mom’s the word for P&G Teletransported to the top YESTERDAY’s P&G seminar examined the ground rules of purpose-inspired branding and the shift from marketing to serving consumers. P&G’s Proud Sponsor Of Moms and Thanks Mom campaigns were examples of the kind of work that will be more prevalent in the future, said the company’s global marketing and brand-building officer, Marc Pritchard. P&G partnered with the US Olympic Team to celebrate the athletes and their mothers at the 2010 Winter Olympics.

The Thanks Mom programme, which enabled athletes’ mothers to travel to the games in Vancouver, gave P&G a huge boost in terms of consumer favourability. Pritchard said leadership was pivotal to purpose-inspired brand campaigns, adding: “Every brand needs to define its purpose, why it exists and what does it does.” I P&G’s Marc Pritchard

Hey, hey, we’re the monks!

ANDREA Stillacci and Luc Wise are in Cannes for the international launch of new agency Herezie. From the Greek word hairetikos (heretic) — meaning ‘able to choose’ — it reflects the founders’ approach to advertising, which is about “challenging existing orthodoxy and dogma” in the advertising industry and beyond. Stillacci, the creative in the partnership, brings with him a string of awards won during his time with Grey Paris. Wise, formerly of the .V. agency in Paris, is the strategic planner.

Entrepreneur Pierre Callegari is also a partner in Herezie, along with Cheil Worldwide.

For the launch in Cannes, Stil-

PABLO del Campo, CEO of Del Campo Nazca Saatchi & Saatchi, described the Teletransporter campaign that won his agency an Outdoor Grand Prix as a fantastic example of “interaction and ideas that surprise consumers”. Maxi Itzkoff, executive creative director of Del Campo Saatchi & Saatchi, explained that InBev is the leading beer brand in the Mendoza region of Argentina. “They wanted a TV spot

but we wanted something bigger.

We needed an idea that was both relevant and engaging,” he said.

The Teletransporter is a soundproofed booth that is placed inside bars. It offers a choice of some 1,000 background soundscapes, such as schools or barbers, allowing men to disguise the fact they are in a bar when telephoning home. “The big surprise is that it was popular with women as well,” Itzkoff added. I

It’s time to question the questions WONDERING how to drive your business, where the industry is headed or what will be the next big thing? Bridge Worldwide says none of these questions are relevant in today’s disruptive and confused media climate. The company plans to reveal the definitive questions that will answer all the other questions at today’s seminar, The Burning Question.

The session, which is hosted

by UCLA’s Jim Stengel and

Bridge Worldwide’s Bob Gilbreath

Bridge’s Bob Gilbreath, features AT&T’s Esther Lee and Kraft’s Lisa Mann. It will also include contributions from Kraft, Samsung, Levi’s, PepsiCo, Luxottica, P&G, AT&T and IBM. “These are companies that have taken a good look at themselves and are making changes in response to the right answers that they’ve gotten by asking themselves the burning question,” Gilbreath said.I

Not all about the money Luc Wise (left) and Andrea Stillacci — and the monks

lacci and Wise brought in a number of actors dressed as monks, who roamed the Palais yesterday.

“What we like about medieval monks is that they believed in God but they did it their own way. That’s our approach to advertising,” Wise said. I

THE BIGGEST challenge for agencies active in the digital domain is how to make content the core offering as opposed to a sideshow.

That’s the word from Seth Solomons, worldwide chief marketing officer for Digitas, which sponsored Tuesday’s seminar, Cage Fighting Comes To Cannes. The session, which included input from Teen Nick chairman Nick Cannon and producer Gavin Polone as well

as Digitas’ chief creative officer Mark Beeching, produced a standing ovation — one clearly indisputable metric of success, Solomons observed.He added: “There are many agencies playing in the digital space, but they haven’t found a way to use content as the currency for delivery.

The honest truth is that the agencies have been focused on where the money is, as opposed to client needs.”I

Know what’d look great with that Lion?

Another Lion.

The Science to target. The Art to engage. On a Scale only one of the largest global online networks can deliver.

Find out more at advertising.yahoo.com/SAS © 2010 Yahoo! Inc. All rights reserved.

FRIDAY, JUNE 25, 2010

Del Campo Nazca Saatchi & Saatchi’s Maxi Itzkoff (left), Pablo del Campo and Mariano Serkin

Digitas’ Seth Solomons

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GREY: 4th Annual Cannes Music Seminar Tim Mellors talks to Yoko Ono 1:15 Debussy Theatre Friday 25th June

Photograph: Albert Watson Design: Adam Kahn

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NEWS

Public art on display PUBLIC Art, the commercial production arm of the US theatrical visual effects company Pixomondo, is in Cannes to broaden its European client base.

Public Art, which launched at the beginning of this year, is involved with feature-film work.

“Pixomondo and our offices in Santa Monica give us Hollywood cachet, but we also have access to the Pixomondo offices in Asia,” said Jonathan Keeton, Public Art’s executive creative director. “In Cannes, we’d like to increase our European partner base.” Public Art

Public Art’s Jonathan Keeton (left) and Christian Vogt

has full access to Pixomondo’s feature-effects teams in Berlin, Frankfurt, Stuttgart, Munich, London, Shanghai and Beijing, as well as Santa Monica.

The two studios also share expertise and resources. “It maximises the power of the studio while keeping the cost low,” said Public Art’s chief operating officer and executive producer Christian Vogt. “We offer creative directors from all over the world to our clients.

The advantage of having studios around the world is that we can cost and time shift.” I

WSPA’s Kate Moyster (left) sets the task: Young Lions Le Ngoc Bich Tran and Thanh Tung Le from Vietnam, said that in their country not many people understand animal welfare; Austria’s Anna Beimel and Robin Beck (top) are looking forward to the focus on animals; and Nigeria’s Okeke Nnenna and Godwin Ndubuisi said it was a brief they could relate to

Young Film Lions stalk exotic animals for WSPA campaign THE 38 teams competing in the Young Lions Film competition face a particularly tough challenge this year — taking their Nokia mobiles around Cannes in search of images promoting the welfare of exotic animals. The client is the World Society for the Protection of Animals (WSPA) and its international acquisitions manager, Kate Moyster, said the task focused on the Compassionate Trav-

Hear UCLA Anderson faculty member and former P&G global marketing officer, Jim Stengel, as he reveals The Burning Question. It will transform how our industry thinks about marketing.

June 25 | 17:15 | Debussy Theatre Engage with the most dynamic MBA program in the industry today.

Visit http://www.anderson.ucla.edu/.

See Cannes through Professor Stengel’s eyes: twitter.com/JimStengel

FRIDAY, JUNE 25, 2010

eller campaign, which was launched last year. Founded 25 years ago in London, WSPA has 1,027 member societies, ranging from a cat shelter in Thailand to the UK’s RSPCA. The charity aims to help victims of cruelty and disaster, and its targets include pets, farm animals and wildlife.

The Compassionate Traveller campaign promotes “animalfriendly travel”, Moyster said.

“One of the most frequent ways

animals are exploited is through tourism.” Examples of such exploitation include elephant ivory souvenirs, bull fighting, swimming with dolphins and animal shows. WSPA does not try to make people feel guilty, avoiding depicting bloody scenes or extremes of cruelty. “We know this turns people off and provokes anger,” Moyster said.

The teams have to produce a 60-second spot, to be completed within 48 hours. I

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NEWS

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Chinese creativity fired by ‘internet on steroids’ THE LEVEL playing field offered by the internet is creating a conduit for creativity in China, said Dick van Motman, CEO of DDB China.

“The internet is on steroids in China and the upshot is that it is creating a society that now has the ability to express itself,” Van Motman added.

China has traditionally been a society that invents. It invented paper, gunpowder and the compass, Van Motman said, adding: “Historically, those Google maps we are seeing can be traced back to China.”

According to Van Motman, innovation is one of the primary objectives of the Chinese government and, as a result, the country is becoming an increasingly innovation-based society.

The upshot for marketers, he added, is that content expres-

sion and creation has become a major driver — and much of it is now being created and expressed over the internet.

“Because of this, whenever you do campaigns, people are much more prone to participate in every way, including uploading videos,” he said.

Meanwhile, portals such as Neocha.com are connecting China’s creative communities and the internet is enabling artists — and especially female artists — to get noticed much more rapidly.

So what’s the potential of all this? Van Motman points to Tencent’s qq.com portal, which has 856 million registered users.

Only 14% of qq.com’s revenue comes from advertising; the remainder is generated by the sale online of add-ons, such as emoticons. I

JWT’s Sheung Yan Lo: rising figures

sohu.com’s Belinda Wang: internet now at the hub of marketing

China’s 384 million netizons happy to engage with brands THE CHINESE Advertising Association unveiled a raft of new statistics and information on netizon behaviour at yesterday’s seminar The People’s Republic Of The Internet In China.

China has some 384 million netizons, 221 million bloggers, 176 million social-network registrations, 265 million online game players, 240 million online video users and 108 million e-commerce users, reported Sheung Yan Lo, chair-

DDB China’s Dick van Motman: “A society that now has the ability to express itself”

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Nokia’s WeiDong Yang: “Actively engaged netizons”

man of Northeast Asia and executive creative director of JWT. Belinda Wang, co-president and chief operating officer of sohu.com, said that the internet is increasingly at the centre of marketing plans. She added that China’s burgeoning internet culture is influencing its people’s social, economic and political consciousness.

WeiDong Yang, Nokia’s head of marketing activation for greater China, said: “The first

and most important aspect of digital marketing in China is that we are realising just how actively engaged Chinese netizons are and how willing they are to participate in marketing activities.”

A case in point was a live and online concert in which Nokia partnered with the video service Youku. Not only did the event draw some 6.5 million consumers, but a large number of Nokia 5800 phones were also sold online. I

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NEWS The Design Grand Prix went to Happiness Brussels for iQ Font for Toyota, described by jury president, C&G Partners’ Steff Geissbuhler, as “the epitome of great design”. Collecting the award were Ramin Afshar (left), Gregory Titeca, Tom Galle, Karen Corrigan and Cecilia Azcarate Isturiz

THE PRIDE OF LIONS

In Press, the night belonged to ALMAPBBDO Sao Paulo, which won a Gold and a Grand Prix for its “exquisitely crafted work that grabs you by the eyeballs” for Billboard Magazine.

Marcos Kotlhar, Luiz Sanches, Marcos Medeiros, Andre Kassu and Danilo Boer piled on stage to accept the awards

The Cannes Lions Interactive Agency Of The Year accolade went to Crispin Porter + Bogusky, which was represented by Bjorn Hoglund (left), Winston Binch, Tiffany Kosel Rolfe and Matt Walsh, pictured here with Festival CEO Philip Thomas (centre)

INTRODUCING THE THIRD NIGHT OF AWARDS, FESTIVAL CHAIRMAN TERRY SAVAGE COMPARED CANNES TO “A CREATIVE ENERGY SOURCE”, PROVIDING INSPIRATION AND SUPERCHARGING THE INDUSTRY’S BATTERIES WITH GAME-CHANGING WORK. THE CALIBRE OF THE 2010 CYBER, DESIGN AND PRESS WINNERS PROVED HIS POINT Bjorn Kusoffsky of Stockholm Design Lab accepted a Design Gold for the International Art Exhibition’s La Biennale di Venezia campaign

Sandra King of Fairfax Media accepted a Design Gold on behalf of New Zealand’s Alt Group, which created The Vigneron campaign for Oakfield Press

FRIDAY, JUNE 25, 2010

Jung von Matt Hamburg won two Cyber Golds for Sounds Of Hamburg for the Philharmonic Orchestra of Hamburg.

Making the double trip up to the stage were Ramin Schmiedekampf and Anke Goebber, pictured here with jury president Jeff Benjamin

Akira Kagami of Dentsu Tokyo beamed with delight as he collected a Design Gold for the Yoshida Hideo Memorial Foundation’s campaign The Oneder Brain!!

A thrilled Inka Wittmann of Jung von Matt hugged her Design Gold for the agency’s Quitting Calendar campaign

Facebook founder and CEO Mark Zuckerberg (left) said it was “a real honour to be working alongside the advertising industry”, as he accepted the 2010 Media Person Of The Year accolade from Festival CEO Philip Thomas

TBWA Paris’ Ingrid Varetz (left), Phillippe Simonet, Nathalie Huni and Gregoire AssematTessandier picked up two Cyber Golds after delighting the awards-ceremony audience with humorous safe-sex messages for AIDES

Andreas Dahlqvist (left), Linda Eriksson, Niclas Melin, Martin Lundgren and Simon Higby of DDB Stockholm took the Cyber Grand Prix for Volkswagen’s The Fun Theory campaign

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NEWS Orange power! Entering into the spirit of the FIFA World Cup, the Cannes Lions’ own World Cup Beach Football event was won by the Netherlands

11

Brazil also triumphed in the Young Lions competition, with Daniel Lury Souza Xavier and Nathalia Resende dos Santos taking the top prize in Cyber

Kokokaka’s Matti Djateu, Mattias Ljungberg and Markus Hasselblom clinched a Cyber Gold for Wrangler Europe’s Blue Bell Jeans campaign

Accepting Taproot India’s Press Gold Lion for the Transasia Papers campaign were Santosh Padhi (left) and Agnello Dias (right), shown here with jury president Mark Tutssel

Uniqlo’s Ken Kanetomo (left) and Kentaro Katsube accepted a Cyber Gold for Projector Tokyo’s Uniqlo Calendar from jury president Crispin Porter + Bogusky’s Jeff Benjamin Big smiles from Eric Quennoy (left), Rebecca Groff and Mark Bernath of Wieden+Kennedy, who took a Cyber Grand Prix for the Nike Livestrong Foundation Chalkbot campaign

Jury president Mark Tutssel (centre) congratulated Omar Rodomiro Sotomayor Noel (left) and Gaston Angelo Soto Denegri of Peru’s Circus for winning the Young Lions Print Competition

M&C Saatchi London’s Graham Fink (left), jury president Mark Tutssel and Simon Dicketts picked up a Press Gold for the Dixons.co.uk campaign

Adrian Rossi (left) and Alex Grieve (right) of BBH London collected a Press Gold from jury president Mark Tutssel for the St John Ambulance campaign

Press jury president, Leo Burnett’s Mark Tutssel, flanked by Mihai Botarel (left) and Oliver Kapusta of DDB Germany, who collected a Press Gold for the agency’s work for Volkwagen’s VW Golf

SUMMER IS HOT HUNGARY IS COOL

Contact: Dalma Hidasi email: hidasi@extremefilm.com cell: +36 30 9515664 website: www.extremefilm.com FRIDAY, JUNE 25, 2010

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NEWS

Forget publicity blitzes — PR is a sustainable conversation Brooklyn, Tel Aviv-style

TNKS! SETS THE SCENE FOR ISRAEL TNKS! is in Cannes to promote Israel’s growing role as a filming hot spot, thanks to highly skilled and ultra-fast crews and a portfolio of timeless locations. “It’s a no-nonsense attitude we call ‘the Israeli way’,” said TNKS! executive producer Gustavo Nadel. “We also respond to briefs very quickly and likewise for pre-production work.

We can do in one day what most countries do in two.”

Given Israel’s compactness, shoots can move between vastly differing locations with a minimum of travel time.

“It’s easy to do beach in the morning, mountains at midday and desert in the afternoon,” Nadel said. “Tel Aviv is a hyper-modern city, but it’s located next to a beach and has some great Bauhaus architecture. You can easily clone a southern European look — and we even did New York for a Fanta advert.

There’s a part of Tel Aviv that already looks like New York, so we built a subway entrance and added a yellow cab, and it was very convincing.” Andrea Turek from TNKS! Paris office brings in business from around Europe. “Israel is a convenient, cost-effective destination with diverse locations, professional crews, amazing casting options, advanced technology and great weather almost all year round,” she said. Among Israel’s attractions, Turek added, are sandy Mediterranean beaches, and lush forests and fields along the verdant coastal plain. “Then there are the rolling hills of the Galilee, the snow-capped peak of Mount Hermon, the desolate wasteland of the Dead Sea, the rocky hills of the Negev and the dramatic red granite mountain range bordering the Red Sea. Israel has it all within a few hours’ drive.” I FRIDAY, JUNE 25, 2010

THE UNILEVER/SapientNitro icecream machine, Ben Stiller and Facebook’s Mark Zuckerberg are among the most tweeted topics in Cannes. But out in front is DavidonDemand.

Leo Burnett’s decision to send David Perez to the Festival as the tweeter-at-large seems to have been justified, according to Twitter-monitoring by Porter Novelli.

Kerry Gaffney, associate director of social media for the PR group, said that at one stage Perez was the subject of 25% of all Cannes Twitter traffic.

Gaffney added that the company’s monitoring of the online buzz was an example of where

PR excels. “As our customers arrive here we are able to tell them what the buzz is about their company,” she said.

Porter Novelli has been working alongside MOFILM in Cannes after winning the PR account for the newly launched operation, which helps young filmmakers to create videos for big brands and good causes.

Gaffney said there had been discussions about using some of the mass of content generated

by MOFILM’s competitions — each contest attracts about 1,000 entries. “There is increasing demand for content on the internet,” she observed.

PR, in its second year as a Festi-

val category, had provided several lessons for delegates, according to Julie Winskie, Porter Novelli’s president of global clients and a member of the PR jury.

“The traditional ad industry has struggled with understanding PR,” she said. “Far too many brands are looking at social media as a channel. It’s not — it’s how your community engages and it’s a matter of you being able to engage with them.”

PR is about sustainable conversations rather than short-term publicity blitzes, Winskie added.

But she rejected suggestions of friction between PR and advertising. “We work better when we work together,” she said. I

Kerry Gaffney (left) and Julie Winskie

Who let the meerkat out of the bag?

IN 2002, VCCP launched with just one account: the mobilephone operator O2 in the UK. Today, the agency employs 300 people, has offices in London, Berlin, Prague, Qatar and Abu Dhabi — and continues to break new ground in partnership with O2. Peter Polster, VCCP’s international managing director, arrived in Cannes having just won the O2 creative agency account for Slovakia and the telco’s digital account for the UK — which, Polster said, at £15m, is the largest in Britain.

But he hopes to score more success in Cannes with another client. VCCP’s ads for com-

parison website comparethemarket.com have become a viral sensation through identifying the brand with a meerkat called Alexander.

“The essential thing is that it’s a great idea that engaged with consumers,” Polster said. Because of VCCP’s integrated structure, it had been able to carry the campaign through traditional media to social websites, where staff can engage in “realtime planning”, responding to questions such as ‘Who is Alexander’s IT manager? (that’s Sergei).

Now VCCP hopes to do the same for Coca-Cola’s Five Alive brand, using a dodo. I

VCCP’s Peter Polster: “real-time planning”

Arjaan Dubai sets out its film credentials MARK Deere, recently appointed manager of the Arjaan by Rotana–Dubai, is on a mission to position his resort as filming location for the advertising industry.

The complex, situated next to Dubai Media City, has proved to be a hit with photographers and filmmakers since it opened 18 months ago. “We have played host to a number of film and stills shoots,” Deere said. “Plus we have quite a lot of crews,

directors and actors staying here.”

Film projects to date include scenes from the feature film Mantera, a spot for Toyota’s new luxury 4x4 vehicle and a corporate film for the Sharjah Holding Company.

The hotel resembles an Arabic Palace, designed with arcs, domes and cupolas. “The complex includes a small souk with 24 shops, and we have great views of Palm Island,” Deere added. I

Arjaan by Rotana–Dubai at night

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NEWS

13

KEEPING IT SIMPLE JULIAN NEWBY SPEAKS TO YOKO ONO, TIM MELLORS AND JOSH RABINOWITZ AHEAD OF THE ANNUAL GREY MUSIC SEMINAR n icon of popular culture is, again, the focus of the Annual Grey Music Seminar in Cannes. Yoko Ono joins Grey Worldwide CEO Tim Mellors today for a discussion that will explore the relationship between music, art and advertising.

Mellors says he believes Ono is a pioneer both as an artist and a musician. “I think that the work that Yoko did in the early years, as an art form, could win prizes here. If you take the ‘bed-in’, for example, her and John getting in a bed in Toronto and Amsterdam and getting the world’s press around them, that’s exactly like the stuff I saw at the Media Lions.”

He said that the striking images of John and Yoko — in white clothes under white bed linen, contrasting with

A

Medium,’ not ‘Medium is the Message’. It was hip to say ‘Medium is the Message’ because that was where the world was going. Meanwhile, the message got blurred and lost by that.” Musicians to have participated in the Grey seminar include British singersongwriter Donovan and American crooner Tony Bennett. “Musicians are in a hole in very much the same

“ALL ARTISTS IMPRESS ME FOR BEING ARTISTS. YOU NEED COURAGE TO BE ONE” her famous thick, black hair and surrounded by posters daubed in black and white with slogans about love, peace and war — are still in our consciousness, because they were simple. “If you think about it, ‘Give Peace A Chance’, or ‘Peace Now’, or ‘War is Over’, these are all slogans that are incredibly simple, and seem very easy.”

Speaking exclusively to the Lions Daily News, Yoko Ono says that this simplicity was a conscious decision. “I wanted to communicate the message without frills. I always said ‘Message is the

way that advertising is, and they have gone back to what they do best — they make their money and they make their names on live performance,” Mellors says. “I think what

they can teach us is how to communicate at the simplest level, how to produce something enduring and touching a wider audience very quickly, and how to monetise that. It’s often forgotten that these people are masters at monetising what, in the end, are artistic ideas, and I think there are the two strands of advertising, the money srand and the art strand, and the tow must meet for any-

thing that’s really powerful.”

“When I put out a full page ad in the New York Sunday Times saying ‘Imagine All The People Living Life In Peace’ (12 days after the 9/11 attacks), that was a strong advertisement event, communicated to more than just the readers of the New York Times in New York,” Ono says. “For an advertisement to be effective with maximum strength, you need the message, timing and the way it’s expressed. That one happened to have all three. I was lucky.”

The Grey seminar is introduced by Josh Rabinowitz, director of music at Grey, and media and film studies professor at the New School. Rabinowitz says the purpose is to “accentuate the importance of music in advertising and branding, and to offer some of the most interesting and successful people in the musical space who share their understanding of this importance”.

Of the choice of Ono, Rabinowitz says: “My interest was finding someone that every delegate would know, who could offer what I call a rarefied experience, who is obviously musical, and would resonate with advertising at a high level. Yoko does that and more. She’s been a risk taker, and experimenter, a relevant artist in many media, and, an icon on several levels.”Ono has similar respect for her colleagues in the art world. “All artists impress me for deciding to be artists. You need courage to be one.

“I think all of us artists try to do good work.

If that sticks, I’m glad.” I

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14

SHORTLIST FILM

CAT

TITLE

ADVERTISER

PRODUCT

ADVERTISING AGENCY

PRODUCTION COMPANY

COUNTRY

A. DAIRY A. DAIRY A. DAIRY CAMPOFRIO

PANDA CHEESE PANDA CHEESE PANDA CHEESE FINISSIMAS THIN SLICED MEATS

ADVANTAGE MARKETING & ADVERTISING CAIRO ADVANTAGE MARKETING & ADVERTISING CAIRO ADVANTAGE MARKETING & ADVERTISING CAIRO MCCANN ERICKSON MADRID

THE HOUSE CAIRO THE HOUSE CAIRO THE HOUSE CAIRO AGOSTO BARCELONA

EGYPT EGYPT EGYPT SPAIN

CADBURY SOUTH AFRICA UNITED BISCUITS/MC VITIES CADBURY CADBURY ARCOR MARS SNACK FOOD US GENERAL MILLS/FRUIT BY THE FOOT GENERAL MILLS/FRUIT BY THE FOOT GENERAL MILLS/FRUIT BY THE FOOT GENERAL MILLS/FRUIT BY THE FOOT GENERAL MILLS/FRUIT BY THE FOOT WRIGLEY PEPSICO WRIGLEY WRIGLEY WRIGLEY WRIGLEY WRIGLEY WEETABIX MARS ELMA CHIPS KRAFT CADBURY

STIMOROL AIR RUSH GUM BISCUITS CHOCOLATE CHOCOLATE CEREAL BAR SNICKERS CHOCOLATE BAR FRUIT SNACKS FRUIT SNACKS FRUIT SNACKS FRUIT SNACKS FRUIT SNACKS SKITTLES CANDY DORITOS TORTILLA CHIPS PK CHEWING GUM STARBURST SWEETS SKITTLES SWEETS SKITTLES SWEETS SKITTLES SWEETS BREAKFAST CEREAL TWIX CHOCOLATE BAR CRISPS CHOCOLATE SNACK CHOCOLATE

OGILVY CAPE TOWN FRED & FARID PARIS DEL CAMPO/NAZCA SAATCHI & SAATCHI BUENOS AIRES DEL CAMPO/NAZCA SAATCHI & SAATCHI BUENOS AIRES DEL CAMPO/NAZCA SAATCHI & SAATCHI BUENOS AIRES BBDO NEW YORK SAATCHI & SAATCHI NEW YORK SAATCHI & SAATCHI NEW YORK SAATCHI & SAATCHI NEW YORK SAATCHI & SAATCHI NEW YORK SAATCHI & SAATCHI NEW YORK NITRO MOSCOW ABBOTT MEAD VICKERS BBDO LONDON DDB SYDNEY TBWA\CHIAT\DAY NEW YORK TBWA\CHIAT\DAY NEW YORK TBWA\CHIAT\DAY NEW YORK TBWA\CHIAT\DAY NEW YORK WCRS LONDON ALMAPBBDO SÃO PAULO ALMAPBBDO SÃO PAULO OGILVY BRASIL SÃO PAULO SAATCHI & SAATCHI JOHANNESBURG

VELOCITY FILMS JOHANNESBURG SPY FILMS TORONTO PRIMO BUENOS AIRES PRIMO BUENOS AIRES AWARDS CINE BUENOS AIRES MJZ NEW YORK MJZ LOS ANGELES MJZ LOS ANGELES MJZ LOS ANGELES MJZ LOS ANGELES MJZ LOS ANGELES @RADICAL.MEDIA NEW YORK MJZ LONDON FILM CONSTRUCTION SYDNEY MJZ LOS ANGELES SMUGGLER HOLLYWOOD SMUGGLER HOLLYWOOD SMITH AND JONES FILMS NORTH HOLLYWOOD RATTLING STICK LONDON HUNGRY MAN SÃO PAULO SENTIMENTAL FILMES SÃO PAULO HUNGRY MAN SÃO PAULO CATAPULT COMMERCIALS JOHANNESBERG

SOUTH AFRICA FRANCE ARGENTINA ARGENTINA ARGENTINA USA USA USA USA USA USA USA UNITED KINGDOM AUSTRALIA USA USA USA USA UNITED KINGDOM BRAZIL BRAZIL BRAZIL SOUTH AFRICA

BIG ROCK BEER HEINEKEN ANHEUSER-BUSCH INBEV MAGNERS AB-INBEV AB-INBEV AB-INBEV AB-INBEV FOSTER’S FOSTERS GROUP HEINEKEN USA DIAGEO

JACK RABBIT LIGHT BEER STRONGBOW CIDER STELLA ARTOIS 4% BEER ORIGINAL CIDER BUD LIGHT BEER BUD LIGHT BEER BUD LIGHT BEER BUD LIGHT BEER VICTORIA BITTER BEER PURE BLONDE BEER NEWCASTLE BROWN ALE BUDWEISER BEER

FIVE STRANGERS FILMS TORONTO ST LUKE’S COMMUNICATIONS LONDON MOTHER LONDON THE RED BRICK ROAD LONDON DDB CHICAGO DDB CHICAGO DDB CHICAGO DDB CHICAGO DROGA5 AUSTRALIA SYDNEY CLEMENGER BBDO MELBOURNE VITRO SAN DIEGO DDB UK LONDON

FIVE STRANGERS FILMS TORONTO OUTSIDER LONDON RATTLING STICK LONDON STINK LONDON MJZ LOS ANGELES MJZ LOS ANGELES MJZ LOS ANGELES MJZ LOS ANGELES @RADICAL.MEDIA SYDNEY THE SWEET SHOP AUCKLAND STATION FILM NEW YORK GORGEOUS ENTERPRISES LONDON

CANADA UNITED KINGDOM UNITED KINGDOM UNITED KINGDOM USA USA USA USA AUSTRALIA AUSTRALIA USA UNITED KINGDOM

SAVOURY FOODS A01/056 A01/057 A01/058 A01/094

KITCHEN OFFICE HOSPITAL T-MO-T

SWEET FOODS & SNACKS A02/026 A02/027 A02/037 A02/038 A02/040 A02/071 A02/095 A02/096 A02/097 A02/098 A02/099 A02/102 A02/116 A02/118 A02/119 A02/120 A02/121 A02/123 A02/128 A02/159 A02/162 A02/168 A02/171

NEW GUY BUT...

CHECK YOU’RE RIGHT FATHER ROAD TRIP REPLACEMENT FUTURE SWEATER MEMORY SNAKE GIRAFFE ALAN ROD KILT HOURGLASS PLANT TUBE SOCK :45 STEEPLECHASE CROOKED FACE BOTTLE SHOES OSTRICH

ALCOHOLIC DRINKS A03/001 A03/003 A03/007 A03/023 A03/032 A03/033 A03/034 A03/035 A03/036 A03/037 A03/041 A03/052

POKER FACE BANKERS TUNNEL STRAIGHT AMY ENTRANCE PAINTBALL PILLOW FIGHT REGULARS DOVE LOVE FAVORITE LYRICS

Hamburg

FRIDAY, JUNE 25, 2010

Germany

www.wunderfilm.de

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FILM SHORTLIST CAT

TITLE

ADVERTISER

PRODUCT

ADVERTISING AGENCY

PRODUCTION COMPANY

COUNTRY

A03/079 A03/080 A03/082 A03/084 A03/091 A03/092 A03/093 A03/094 A03/097 A03/102 A03/106 A03/109 A03/110

MEN WITH TALENT WALKING FRIDGE BRING IT TO LIFE LOST BARREL :60 HELPING A MATE LEAK NANA SMS DOG TRAINING TO ARTHUR ICE FISHING SNOW MONKEYS TREASURE CHEST

HEINEKEN NETHERLANDS HEINEKEN NETHERLANDS DIAGEO PERNOD RICARD LION NATHAN AUSTRALIA LION NATHAN AUSTRALIA LION NATHAN AUSTRALIA LION NATHAN AUSTRALIA AB-INBEV DIAGEO HEINEKEN HEINEKEN HEINEKEN

HEINEKEN BEER HEINEKEN BEER GUINNESS JAMESON WHISKEY TOOHEYS NEW BEER TOOHEYS NEW BEER TOOHEYS NEW BEER TOOHEYS NEW WHITE STAG LOW CARB BEER BUD LIGHT BEER GUINNESS DOS EQUIS BEER DOS EQUIS BEER DOS EQUIS BEER

TBWA\NEBOKO AMSTERDAM TBWA\NEBOKO AMSTERDAM ABBOTT MEAD VICKERS BBDO LONDON TBWA\CHIAT\DAY NEW YORK SAATCHI & SAATCHI AUSTRALIA SYDNEY SAATCHI & SAATCHI AUSTRALIA SYDNEY SAATCHI & SAATCHI AUSTRALIA SYDNEY SAATCHI & SAATCHI AUSTRALIA SYDNEY DDB CHICAGO SAATCHI & SAATCHI LONDON EURO RSCG WORLDWIDE NEW YORK EURO RSCG WORLDWIDE NEW YORK EURO RSCG WORLDWIDE NEW YORK

CZAR.NL AMSTERDAM/RADIOACTIVE FILM KIEV CZAR.NL AMSTERDAM KNUCKLEHEAD LONDON CHEROKEE FILMS AUCKLAND CHERUB PICTURES SYDNEY CHERUB PICTURES SYDNEY CHERUB PICTURES SYDNEY CHERUB PICTURES SYDNEY FURLINED SANTA MONICA PARTIZAN LONDON @RADICAL.MEDIA NEW YORK @RADICAL.MEDIA SANTA MONICA @RADICAL.MEDIA SANTA MONICA

THE NETHERLANDS THE NETHERLANDS UNITED KINGDOM USA AUSTRALIA AUSTRALIA AUSTRALIA AUSTRALIA USA UNITED KINGDOM USA USA USA

BRITVIC MINUTE MAID NESTLÉ WATERS SPA BARISART COKE ZERO LIPTON PARLE AGRO PARLE AGRO PEPSICO

DRENCH SPRING WATER ENHANCED JUICE PERRIER CARBONATED WATER SPARKLING WATER COKE ZERO YELLOW LABEL TEA LMN SOFT DRINK LMN SOFT DRINK TROPICANA ORANGE JUICE

CHI & PARTNERS LONDON DONER SOUTHFIELD OGILVY FRANCE PARIS DUVAL GUILLAUME BRUSSELS CRISPIN PORTER + BOGUSKY BOULDER DDB PARIS CREATIVELAND ASIA MUMBAI CREATIVELAND ASIA MUMBAI BBDO CANADA TORONTO

INFINITY PRODUCTIONS LONDON EPOCH FILMS NEW YORK IRENE PARIS CZAR.BE BRUSSELS COMPANY FILMS LOS ANGELES LES TÉLÉCRÉATEURS PARIS/BISCUIT FILMWORKS LOS ANGELES PHENOMENA BANGKOK PHENOMENA BANGKOK RADKE FILM GROUP TORONTO/FILMGROUP.TV VANCOUVER

UNITED KINGDOM USA FRANCE BELGIUM USA FRANCE INDIA INDIA CANADA

PROCTER & GAMBLE UNILEVER

TIDE LAUNDRY DETERGENT SKIP DETERGENT

SAATCHI & SAATCHI NEW YORK BORGHIERH/LOWE SÃO PAULO

TOOL OF NORTH AMERICA SANTA MONICA/AVION FILMS TORONTO DINAMO FILMES SÃO PAULO

USA BRAZIL

MEDAL PAINTS MEDAL PAINTS TETRAPAK PIDILITE INDUSTRIES

PAINT PAINT PACKAGING FEVICOL ADHESIVE

LOWE BULL JOHANNESBURG LOWE BULL JOHANNESBURG LOWE BULL JOHANNESBURG OGILVY & MATHER MUMBAI

BOUFFANT JOHANNESBURG BOUFFANT JOHANNESBURG VELOCITY FILMS CAPE TOWN CORCOISE FILMS MUMBAI

SOUTH AFRICA SOUTH AFRICA SOUTH AFRICA INDIA

IKEA CANADA IKEA CANADA INTERIOR CLUB FURNITURE SALON

PAX WARDROBE BESTA STORAGE UNITS FURNITURE

ZIG TORONTO ZIG TORONTO MFIVE CREATIVE GROUP MOSCOW

RADKE FILM GROUP TORONTO RADKE FILM GROUP TORONTO MFIVE MINIFILMS PRODUCTION MOSCOW

CANADA CANADA RUSSIA

OLD SPICE OLD SPICE OLD SPICE UNILEVER UNILEVER UNILEVER

BODY WASH MALE GROOMING MALE GROOMING MEN’S CARE DEODORANT DEODORANT

WIEDEN+KENNEDY PORTLAND WIEDEN+KENNEDY PORTLAND WIEDEN+KENNEDY PORTLAND OGILVY FRANCE PARIS PONCE BUENOS AIRES PONCE BUENOS AIRES

MJZ LOS ANGELES MJZ LOS ANGELES MJZ LOS ANGELES MJZ LOS ANGELES FURLINED SANTA MONICA PRETTYBIRD LOS ANGELES

USA USA USA FRANCE ARGENTINA ARGENTINA

KIMBERLY-CLARK KIMBERLY-CLARK

U BY KOTEX SANITARY PRODUCTS U BY KOTEX SANITARY PRODUCTS

JWT NEW YORK JWT NEW YORK

BISCUIT FILMWORKS LOS ANGELES BISCUIT FILMWORKS LOS ANGELES

USA USA

MISSION PHARMACAL COMPANY PHARMA DYNAMICS PHARMA DYNAMICS CADBURY ADAMS ADCOCK INGRAM ADCOCK INGRAM JOHNSON & JOHNSON CANADA NOVARTIS

THERA-GESIC PAIN RELIEVING CREAM TEXA ANTI-HAY FEVER TABLET TEXA ANTI-HAY FEVER TABLET HALLS REFRESH COUGH SWEETS COMPRAL PAIN RELIEVER COMPRAL PAIN RELEIVER TYLENOL BACK PAIN RELIEF PAINKILLER

MOROCH DALLAS SINGH&SONS CAPE TOWN SINGH&SONS CAPE TOWN JWT NEW YORK DRAFTFCB JOHANNESBURG DRAFTFCB JOHANNESBURG JWT TORONTO SAATCHI & SAATCHI ROMANIA BUCHAREST

STORY CHICAGO HUMANOID FILMS JOHANNESBURG HUMANOID FILMS JOHANNESBURG STATION FILM NEW YORK FRESH EYE FILMS JOHANNESBURG FRESH EYE FILMS JOHANNESBURG UNTITLED FILMS TORONTO SAGA FILM BUCHAREST

USA SOUTH AFRICA SOUTH AFRICA USA SOUTH AFRICA SOUTH AFRICA CANADA ROMANIA

17

NON-ALCOHOLIC DRINKS A04/015 A04/018 A04/070 A04/096 A04/097 A04/104 A04/110 A04/113 A04/119

CLEVER HAMSTERS WE MEET AGAIN MELTING WATER WITH ACTION 2 NASCAR COVER UP LALO TUMMY WATER HOSE ARCTIC SUN

HOUSEHOLD: CLEANING PRODUCTS A05/013 A05/015

GIVE UP PANTS BLACK AND WHITE

HOUSEHOLD: OTHER A06/018 A06/020 A06/021 A06/024

CAT KNICKERS ROY SULLIVAN FEVICOL MOUSTACHE

HOME APPLIANCES & FURNISHINGS A07/001 A07/002 A07/010

PROFANITY PUGGLES ELASTICITY

COSMETICS & BEAUTY A08/007 A08/008 A08/009 A08/025 A08/026 A08/027

THE MAN YOUR MAN COULD SMELL LIKE DIFFERENT SCENTS FOR DIFFERENT GENTS KISS DOVE MAN ARMS DESTINY

TOILETRIES A09/008 A09/009

FRANK CONVERSATION SO OBNOXIOUS

PHARMACY A10/002 A10/014 A10/015 A10/017 A10/021 A10/023 A10/027 A10/056

GOAT TEARS HUG TOO SLOW COLLEGE WRESTLER DRUMMER BENT SPORT COMMENTATOR

FRIDAY, JUNE 25, 2010

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FILM SHORTLIST CAT

TITLE

ADVERTISER

PRODUCT

ADVERTISING AGENCY

PRODUCTION COMPANY

COUNTRY

LEVI’S LEVI’S NIKE NIKE NIKE KRYS NIKE NIKE NIKE ADIDAS INTERNATIONAL PUMA PUMA

JEANS JEANS BASKETBALL BASKETBALL BASKETBALL EYE GLASSES NIKE AIR TRAINERS NIKE APPAREL NIKE GOLF ADIDAS SPORTSWEAR LOVE = FOOTBALL CAMPAIGN LOVE = RUBGY CAMPAIGN

WIEDEN+KENNEDY PORTLAND WIEDEN+KENNEDY PORTLAND WIEDEN+KENNEDY PORTLAND WIEDEN+KENNEDY PORTLAND WIEDEN+KENNEDY PORTLAND H SURESNES NIKE BEAVERTON WIEDEN+KENNEDY PORTLAND WIEDEN+KENNEDY PORTLAND 180 AMSTERDAM (180\TBWA) DROGA5 NEW YORK DROGA5 NEW YORK

ANONYMOUS CONTENT CULVER CITY THE DIRECTORS BUREAU HOLLYWOOD IMPERIAL WOODPECKER SANTA MONICA IMPERIAL WOODPECKER SANTA MONICA IMPERIAL WOODPECKER SANTA MONICA SOIXAN7E QUIN5E PARIS GREAT GUNS LONDON SMUGGLER HOLLYWOOD PRETTYBIRD LOS ANGELES MJZ LONDON KNUCKLEHEAD LONDON PARTIZAN US LOS ANGELES

USA USA USA USA USA FRANCE UNITED KINGDOM USA USA THE NETHERLANDS USA USA

SWIMMING POOL

MARS PETCARE FRANCE

FROLIC DOG BISCUITS

CLM BBDO BOULOGNE-BILLANCOURT

QUAD PARIS

FRANCE

GREEN CAR BULL DOG COUPLE ÇA VA? NEW KID PUNCHDUB :60 EVERYTHING OH BROTHER LIKE A GOLF COIN PARKING WILDEBEEST FINALLY NOTHING SOFT GETS IN SWORD COLLECTOR CAT SITTER

AUDI OF AMERICA HYUNDAI MOTOR AMERICA CITROÈN TOYOTA MOTOR CORPORATION QUEBEC VOLKSWAGEN DEALERS’ MARKET. ASSO. AUDI VOLKSWAGEN OF AMERICA HONDA SEAT VOLKSWAGEN VAESA/VOLKSWAGEN FIAT MERCEDES-BENZ VOLVO TOYOTA MOTOR CORPORATION LAND ROVER LAND ROVER

A3 TDI SONATA AND TUCSON C3 PICASSO IQ VW GOLF CITY R8 VW CIVIC ALTEA XL VW GOLF VW GOLF PALIO GROOVE SMART CAR VW V70 4WD RANGE LAND ROVER LAND ROVER

VENABLES BELL & PARTNERS SAN FRANCISCO INNOCEAN WORLDWIDE AMERICAS IRVINE H SURESNES/EURO RSCG MILANO DENTSU TOKYO PALM + HAVAS MONTREAL KEMPERTRAUTMANN HAMBURG DEUTSCH LOS ANGELES WIEDEN+KENNEDY LONDON ATLETICO INTERNATIONAL BARCELONA DDB UK LONDON DDB ESPAÑA BARCELONA LEO BURNETT ARGENTINA BUENOS AIRES CONTRAPUNTO BBDO MADRID FORSMAN & BODENFORS GOTHENBURG SAATCHI & SAATCHI AUSTRALIA SYDNEY Y&R NEW YORK Y&R NEW YORK

HUNGRY MAN LOS ANGELES BISCUIT FILMWORKS LOS ANGELES WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX PICT TOKYO LA FABRIQUE D’IMAGES MONTREAL TONY PETERSEN FILM HAMBURG THE STATION VENICE OUTSIDER LONDON THE GANG MADRID ACADEMY FILMS LONDON AGOSTO BARCELONA LANDIA BUENOS AIRES COCOE MADRID ROADMAP INSTITUTE KLAMPENBORG PRODIGY SYDNEY O POSITIVE FILMS NEW YORK O POSITIVE FILMS NEW YORK

USA USA FRANCE JAPAN CANADA GERMANY USA UNITED KINGDOM SPAIN UNITED KINGDOM SPAIN ARGENTINA SPAIN SWEDEN AUSTRALIA USA USA

MERCEDES-BENZ BRAKE ASSIST CAR DEALERSHIP CAR DEALERSHIP HYBRID SYNERGY DRIVE

JUNG VON MATT HAMBURG LEO BURNETT ARGENTINA BUENOS AIRES LEO BURNETT ARGENTINA BUENOS AIRES SAATCHI & SAATCHI AUSTRALIA SYDNEY

ELEMENT E HAMBURG ARGENTINACINE BUENOS AIRES ARGENTINACINE BUENOS AIRES STINK LONDON

GERMANY ARGENTINA ARGENTINA AUSTRALIA

GARMIN APPLE APPLE APPLE PANASONIC SAMSUNG ELECTRONICS TOSHIBA LG ELECTRONICS SONY CYBERSHOT

PERSONAL NAVIGATION DEVICE (GPS) MAC COMPUTER MAC COMPUTER MAC COMPUTER LUMIX FT1 CAMERA LED TV REGZA SV TELEVISION CELLULAR PHONES CAMERA

VOLCANO ADVERTISING JOHANNESBURG MEDIA ARTS LAB LOS ANGELES MEDIA ARTS LAB LOS ANGELES MEDIA ARTS LAB LOS ANGELES THE CAMPAIGN PALACE SYDNEY CHI & PARTNERS LONDON GREY LONDON Y&R NEW YORK TBWA\LONDON

EGG FILMS JOHANNESBURG EPOCH FILMS BEVERLY HILLS EPOCH FILMS BEVERLY HILLS EPOCH FILMS BEVERLY HILLS GOODOIL FILMS SYDNEY ROGUE LONDON HUNGRY MAN LONDON SMUGGLER HOLLYWOOD RATTLING STICK LONDON

SOUTH AFRICA USA USA USA AUSTRALIA KOREA UNITED KINGDOM USA UNITED KINGDOM

IKEA MAESTRO HOME CENTER IKEA LUST.DK IKEA KIWI GROCERY STORES INTERFLORA DAFFY’S JOHN LEWIS IKEA DEUTSCHLAND

IKEA HOME CENTER STORE IKEA KITCHENS ONLINE SEX SHOP IKEA GROCERY STORE FLOWER DELIVERY CLOTHING RETAILER JOHN LEWIS IKEA

HJALTELIN STAHL & CO. COPENHAGEN Y&R LIMA BEATTIE MCGUINNESS BUNGAY LONDON GREY WORLDWIDE DÜSSELDORF 1861UNITED MILAN SMFB OSLO ROBERT/BOISEN & LIKE-MINDED COPENHAGEN JOHANNES LEONARDO NEW YORK ADAM & EVE LONDON GRABARZ & PARTNER/LUKAS LINDEMANN ROSINSKI

PEGASUS PRODUCTION COPENHAGEN CINESETENTA LIMA MONKEY KINGDOM LONDON STOFF DÜSSELDORF AKITA FILM MILAN ACNE PRODUCTION STOCKHOLM GOBSMACK PRODUCTIONS COPENHAGEN PARANOID US CULVER CITY BLINK PRODUCTIONS LONDON JO!SCHMID FILMPRODUKTION BERLIN

DENMARK PERU UNITED KINGDOM GERMANY ITALY NORWAY DENMARK USA UNITED KINGDOM GERMANY

19

CLOTHING, FOOTWEAR & ACCESSORIES A11/009 A11/010 A11/015 A11/016 A11/017 A11/024 A11/039 A11/042 A11/051 A11/054 A11/055 A11/056

AMERICA O PIONEERS! THREE RINGS BLITZEN RAP DUNKIN’ ON A REINDEER PHOTO FRESH AIR HUMAN CHAIN EARL AND TIGER EVERY TEAM NEEDS THE SPARK HARDCHORUS CHABAL BEAR

MISCELLANEOUS A12/007

CARS A13/002 A13/016 A13/021 A13/032 A13/061 A13/063 A13/066 A13/072 A13/073 A13/087 A13/093 A13/098 A13/139 A13/157 A13/159 A13/188 A13/189

OTHER VEHICLES, AUTO PRODUCTS & SERVICES A14/017 A14/022 A14/023 A14/042

SORRY BLUEBERRIES INHERITANCE BETTER TOGETHER

DAIMLER CAR ONE CAR ONE TOYOTA MOTOR CORPORATION

HOME ELECTRONICS & AUDIO-VISUAL A15/003 A15/005 A15/007 A15/009 A15/022 A15/035 A15/040 A15/053 A15/058

WILDEBEEST BROKEN PROMISES TIME TRAVELER LEGAL COPY SKIM A NEW DIMENSION IN TV SPACE CHAIR CARS LAKESIDE

RETAIL STORES A16/024 A16/026 A16/032 A16/053 A16/067 A16/078 A16/104 A16/109 A16/125 A16/128

THE-WE-THINK-YOU’RE-TOO-YOUNG-TO-GO-TO-SUNNY-BEACH-TEST HUMPHREY KITCHEN SQUAD MISSION: MONICA SEXSHOP EASYCHANGE HORSE CLOSET ASSEMBLY GONE BAD FITTING DANCE ALWAYS A WOMAN FURNITURE ART

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FILM SHORTLIST CAT

TITLE

ADVERTISER

PRODUCT

ADVERTISING AGENCY

PRODUCTION COMPANY

COUNTRY

MCDONALD’S COFFEE COFFEEHOUSE DUTCH DELUXE BURGER MCDONALD’S MCDONALD’S MCDONALD’S MCDONALD’S HOURS MCDONALD’S HOURS

TBWA\CHIAT\DAY NEW YORK DDB CHICAGO BBDO NEW YORK TBWA\NEBOKO AMSTERDAM LEO BURNETT LONDON LEO BURNETT LONDON LEO BURNETT CHICAGO DDB SOUTH AFRICA JOHANNESBURG DDB SOUTH AFRICA JOHANNESBURG

MJZ LOS ANGELES MJZ LOS ANGELES PARK PICTURES NEW YORK CZAR.NL AMSTERDAM MOXIE PICTURES LONDON MOXIE PICTURES LONDON HUNGRY MAN LOS ANGELES FILM MACHINE JOHANNESBURG FILM MACHINE JOHANNESBURG

USA USA USA THE NETHERLANDS UNITED KINGDOM UNITED KINGDOM USA SOUTH AFRICA SOUTH AFRICA

LAS VEGAS TOURISM TRAVEL AGENCY TRAVEL AGENCY

R&R PARTNERS LAS VEGAS ROBERT/BOISEN & LIKE-MINDED COPENHAGEN ROBERT/BOISEN & LIKE-MINDED COPENHAGEN

HUNGRY MAN LOS ANGELES GOBSMACK PRODUCTIONS COPENHAGEN GOBSMACK PRODUCTIONS COPENHAGEN

USA DENMARK DENMARK

MICROSOFT SCIENCE WORLD VANCOUVER INT. FILM FESTIVAL VANCOUVER INT. FILM FESTIVAL MATCH.COM BETSAFE NATIONAL BASKETBALL ASSOCIATION CZECH PARALYMPIC TEAM SONY COMPUTER ENT. AMERICA PERSONAL NFL DALLAS FILM SOCIETY CONSULATE GENERAL OF ARGENTINA IN LA 1984 IDFA (INT. DOC. FESTIVAL AMSTERDAM) IDFA (INT. DOC. FESTIVAL AMSTERDAM) CINE LAS AMERICAS CINE LAS AMERICAS CINE LAS AMERICAS EA SPORTS MALBA APARTHEID MUSEUM APARTHEID MUSEUM APARTHEID MUSEUM APARTHEID MUSEUM

XBOX HALO 3 ODST SCIENCE CENTER FILM FESTIVAL FILM FESTIVAL DATING SERVICE ONLINE BETTING BASKETBALL GAMES PARALYMPIC GAMES PLAYSTATION 3 MUSIC FESTIVAL AMERICAN FOOTBALL FILM FESTIVAL NEW CINEMA FILM FESTIVAL THEATRE PRODUCTION DOCUMENTARY FESTIVAL DOCUMENTARY FESTIVAL FILM FESTIVAL FILM FESTIVAL FILM FESTIVAL FIFA10 ANDY WARHOL EXHIBITION MUSEUM MUSEUM MUSEUM MUSEUM

T.A.G. SAN FRANCISCO RETHINK COMMUNICATIONS VANCOUVER TBWA\VANCOUVER TBWA\VANCOUVER MOTHER LONDON HILANDERS HELSINGBORG GOODBY SILVERSTEIN & PARTNERS SAN FRANCISCO MARK BBDO PRAGUE DEUTSCH LOS ANGELES SANTO BUENOS AIRES GREY NEW YORK TM ADVERTISING DALLAS CONILL SAATCHI & SAATCHI TORRANCE S,C,P,F BARCELONA TBWA\NEBOKO AMSTERDAM TBWA\NEBOKO AMSTERDAM LATINWORKS AUSTIN LATINWORKS AUSTIN LATINWORKS AUSTIN WIEDEN+KENNEDY AMSTERDAM CRAVEROLANIS BUENOS AIRES TBWA\HUNT\LASCARIS JOHANNESBURG TBWA\HUNT\LASCARIS JOHANNESBURG TBWA\HUNT\LASCARIS JOHANNESBURG TBWA\HUNT\LASCARIS JOHANNESBURG

MJZ LOS ANGELES STEAM FILMS VANCOUVER OPC TORONTO/BISCUIT FILMWORKS LOS ANGELES OPC TORONTO/BISCUIT FILMWORKS LOS ANGELES ACADEMY FILMS LONDON B-REEL STOCKHOLM NBA ENTERTAINMENT SECACUS BISTRO FILMS PRAGUE MOXIE PICTURES LOS ANGELES BLUE BUENOS AIRES ROCK PAPER SCISSORS NEW YORK LIBERAL MEDIA DALLAS PARANA FILMS LOS ANGELES S,C,P,F BARCELONA 25FPS AMSTERDAM 25FPS AMSTERDAM D’AVANT-GARDE MEDIA SANTA MONICA D’AVANT-GARDE MEDIA SANTA MONICA D’AVANT-GARDE MEDIA SANTA MONICA KNUCKLEHEAD LONDON RASTI FILMS BUENOS AIRES BOUFFANT JOHANNESBURG BOUFFANT JOHANNESBURG BOUFFANT JOHANNESBURG BOUFFANT JOHANNESBURG

USA CANADA CANADA CANADA UNITED KINGDOM SWEDEN USA CZECH REPUBLIC USA ARGENTINA USA USA USA SPAIN THE NETHERLANDS THE NETHERLANDS USA USA USA THE NETHERLANDS ARGENTINA SOUTH AFRICA SOUTH AFRICA SOUTH AFRICA SOUTH AFRICA

DISCOVERY CHANNEL MTV MELODY ENTERTAINMENT MELODY ENTERTAINMENT MELODY ENTERTAINMENT MELODY ENTERTAINMENT MELODY ENTERTAINMENT CHANNEL 4 ESPN ESPN RTP1 NEWS GROUP NEWSPAPERS BBC KNOWLEDGE BBC BBC BBC BBC CARTOON NETWORK LATIN AMERICA

DISCOVERY CHANNEL 2009 MTV MOVIE AWARDS TV CHANNEL TV CHANNEL TV CHANNEL TV CHANNEL TV CHANNEL BRITAIN’S FORGOTTEN CHILDREN MONDAY NIGHT FOOTBALL MONDAY NIGHT FOOTBALL TELEVISED DEBATE SHOW THE SUN NEWSPAPER BBC KNOWLEDGE CHANNEL NEWS PROGRAMME ORATORY SEASON BBC LOCAL RADIO RADIO 4 CARTOON NETWORK TV

72ANDSUNNY LOS ANGELES MTV ON-AIR PROMOS NEW YORK LEO BURNETT CAIRO LEO BURNETT CAIRO LEO BURNETT CAIRO LEO BURNETT CAIRO LEO BURNETT CAIRO 4CREATIVE LONDON WIEDEN+KENNEDY NEW YORK WIEDEN+KENNEDY NEW YORK BRANDIA CENTRAL LISBON GLUE LONDON THREE DRUNK MONKEYS SYDNEY RAINEY KELLY CAMPBELL ROALFE/Y&R LONDON RAINEY KELLY CAMPBELL ROALFE/Y&R LONDON RAINEY KELLY CAMPBELL ROALFE/Y&R LONDON FALLON LONDON CARTOON NETWORK LATIN AMERICA ATLANTA

OUTSIDER SANTA MONICA BACKYARD VENICE LIGHTHOUSE FILM CAIRO LIGHTHOUSE FILM CAIRO LIGHTHOUSE FILM CAIRO LIGHTHOUSE FILM CAIRO LIGHTHOUSE FILM CAIRO 4CREATIVE LONDON EPOCH FILMS NEW YORK EPOCH FILMS NEW YORK MINISTERIO DOS FILMES LISBON SUPER GLUE LONDON GRANDCHILDREN SEATTLE BLINK PRODUCTIONS LONDON RED BEE MEDIA LONDON RED BEE MEDIA LONDON RED BEE MEDIA LONDON VETOR ZERO/ANIMATÎRIO SÃO PAULO

USA USA EGYPT EGYPT EGYPT EGYPT EGYPT UNITED KINGDOM USA USA PORTUGAL UNITED KINGDOM AUSTRALIA UNITED KINGDOM UNITED KINGDOM UNITED KINGDOM UNITED KINGDOM USA

21

RESTAURANTS & FAST FOOD OUTLETS A17/014 A17/029 A17/043 A17/052 A17/064 A17/065 A17/066 A17/074 A17/075

BABY JOE AND FRANK THE BIG PICTURE DUTCH DELUXE EVERYBODY TECHY TYPES PROUD PAPA PACKERS CLEANER

MCDONALD’S MCDONALD’S STARBUCKS MCDONALD’S MCDONALD’S MCDONALD’S MCDONALD’S MCDONALD’S MCDONALD’S

TRAVEL, TRANSPORT & TOURISM A18/015 A18/045 A18/046

CHINCHILLI DAY LA REVOLUTION MR. JENSEN GREEDY GRANDMA

VEGAS CONVENT. & VISITORS AUTHORITY SPIES SPIES

ENTERTAINMENT & LEISURE A19/014 A19/017 A19/029 A19/030 A19/031 A19/064 A19/081 A19/088 A19/095 A19/103 A19/109 A19/113 A19/121 A19/124 A19/143 A19/144 A19/158 A19/159 A19/160 A19/164 A19/194 A19/198 A19/199 A19/200 A19/201

THE LIFE ICE CREAMY GOODNESS SEXUALITY SUBTITLES PIANO CRAB DUEL DEFENSE SKIING BLIND GRANDMA ELASTIC NASA TALK CRYING SECURITY CAMERA HAIRDRESSER PARAMEDICS BATH PIG PRINCESS HOW BIG CAN FOOTBALL GET? HUMAN NATURE LUTHULI PRINCESSES TAMBO ROUNDHOUSE KICK LUTHULI BEANIE SLOVO DIVAS

PUBLICATIONS & MEDIA A20/001 A20/008 A20/009 A20/010 A20/011 A20/012 A20/013 A20/017 A20/028 A20/029 A20/039 A20/046 A20/048 A20/057 A20/058 A20/060 A20/064 A20/066

I LOVE THE WORLD REPRISE POMMEL: THE BOBBY BROOKS STORY ROCKY TITANIC DANCES WITH WOLVES BRAVEHEART SEVEN BRITAIN’S FORGOTTEN CHILDREN THIS GUY YOU ASK YOURSELF DEMONSTRATION SUN 4.0 MOON WEEK AFTERSHOCK YOUNG ORATORS LOCAL RADIO BULL TOY SOLDIER

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FILM SHORTLIST CAT

TITLE

ADVERTISER

A20/068 A20/069 A20/070 A20/071 A20/078 A20/090 A20/093 A20/111 A20/127 A20/135

THE AFFAIR HAPPY KID TRAPPED BIG ONE CLOWN CLOSET RED WIRES SUPERPOWER IF YOU LIKE RIGHT AND WRONG

HBO HBO ON DEMAND HBO HBO CHANNEL HBO HBO CHANNEL HBO HBO CHANNEL CAPITAL MAGAZINE (GROUP PRISMA PRESS) CANAL+ TELEVISION CHANNEL THE ECONOMIST CURRENT AFFAIRS MAGAZINE BBC INTERNET SEASON VH1 TELEVISION STATION SBT ESQUADRÃO DA MODA TV SHOW

PRODUCT

23

ADVERTISING AGENCY

PRODUCTION COMPANY

COUNTRY

BBDO NEW YORK BBDO NEW YORK BBDO NEW YORK BBDO NEW YORK MAGAZINE BETC EURO RSCG PARIS ABBOTT MEAD VICKERS BBDO LONDON RAINEY KELLY CAMPBELL ROALFE/Y&R LONDON Y&R NEW YORK TALENT SÃO PAULO

BISCUIT FILMWORKS LOS ANGELES BISCUIT FILMWORKS LOS ANGELES BISCUIT FILMWORKS LOS ANGELES BISCUIT FILMWORKS LOS ANGELES Y&R PARIS BOULOGNE-BILLANCOURT SOIXAN7E QUIN5E PARIS GORGEOUS ENTERPRISES LONDON PARTIZAN LONDON HUNGRY MAN LOS ANGELES MARGARIDA FILMS SAO PAULO

USA USA USA USA QUAD PARIS FRANCE FRANCE UNITED KINGDOM UNITED KINGDOM USA BRAZIL

HEALTH INSURANCE HEALTH INSURANCE LONG-TERM INVESTMENTS BANKING DEPOSIT ACCOUNT FINANCIAL SERVICE FINANCIAL SERVICE BANKING SERVICES FINANCIAL SERVICE LIFE INSURANCE PERSONAL LOANS INSURANCE LIFE INSURANCE

MEERKATS PERTH MEERKATS PERTH KING JAMES CAPE TOWN MYBRAND LISBON LEO BURNETT MILAN BBH NEW YORK BBH NEW YORK CONCEPT ISTANBUL GREY NEW YORK OGILVY & MATHER BANGKOK OGILVY ARGENTINA BUENOS AIRES BLACK RIVER F.C. JOHANNESBURG JWT BANGKOK

FLYING FISH SYDNEY FLYING FISH SYDNEY VELOCITY FILMS JOHANNESBURG KRYPTON LISBON MERCURIO CINEMATOGRAFICA MILAN HUNGRY MAN NEW YORK HUNGRY MAN NEW YORK CREAVIDI ISTANBUL CLICK 3X NEW YORK PHENOMENA BANGKOK EL.EI STUDIOS BUENOS AIRES BOUFFANT JOHANNESBURG PHENOMENA BANGKOK

AUSTRALIA AUSTRALIA SOUTH AFRICA PORTUGAL ITALY USA USA TURKEY USA THAILAND ARGENTINA SOUTH AFRICA THAILAND

YOUNG DIRECTOR AWARDS PARCEL DELIVERY SERVICE PARCEL DELIVERY SERVICE JOB SEARCH WEBSITE JOB SEARCH WEBSITE

TBWA\PHS HELSINKI BBDO NEW YORK BBDO NEW YORK WIEDEN+KENNEDY PORTLAND CAREERBUILDER.COM CHICAGO

L-A-D-A AMSTERDAM/CAVIAR AMSTERDAM O POSITIVE FILMS NEW YORK O POSITIVE FILMS NEW YORK MJZ LOS ANGELES MJZ LOS ANGELES

FINLAND USA USA USA USA

SKY TELEVISION SKY TELEVISION VODAFONE VIRGIN MEDIA TRICOM DIRECTV DIRECTV DIRECTV DIRECTV T-MOBILE T-MOBILE VONAGE VONAGE VONAGE TELENET ORANGE FRANCE TELEFONICA SKY ZIGGO

SKY NEWS MYSKY HD TELECOMMUNICATIONS VIRGIN MOBILE BROADBAND INTERNET SATELLITE TV SATELLITE TV SATELLITE TV SATELLITE TV TELECOMMUNICATIONS TELECOMMUNICATIONS TELEPHONE SERVICE TELEPHONE SERVICE TELEPHONE SERVICE DIGITAL TV INTERNET SERVICE IMAGENIO CABLE AND TV SERVICES SKY +HD CABLE INTERACTIVE TELEVISION

DDB NEW ZEALAND AUCKLAND DDB NEW ZEALAND AUCKLAND SANTO BUENOS AIRES RAINEY KELLY CAMPBELL ROALFE/Y&R LONDON PAGÉS BBDO SANTO DOMINGO DEUTSCH LOS ANGELES DEUTSCH LOS ANGELES DEUTSCH LOS ANGELES DEUTSCH LOS ANGELES SAATCHI & SAATCHI LONDON SAATCHI & SAATCHI LONDON TBWA\CHIAT\DAY NEW YORK TBWA\CHIAT\DAY NEW YORK TBWA\CHIAT\DAY NEW YORK DUVAL GUILLAUME BRUSSELS PUBLICIS CONSEIL PARIS MCCANN ERICKSON MADRID WCRS LONDON DDB AMSTERDAM

UBER CONTENT LOS ANGELES O POSITIVE FILMS NEW YORK STINK LONDON ROGUE FILMS LONDON PAGÉS BBDO SANTO DOMINGO TOOL OF NORTH AMERICA SANTA MONICA TOOL OF NORTH AMERICA SANTA MONICA TOOL OF NORTH AMERICA SANTA MONICA TOOL OF NORTH AMERICA SANTA MONICA PULSE FILMS LONDON PARTIZAN LONDON BISCUIT FILMWORKS LOS ANGELES BISCUIT FILMWORKS LOS ANGELES BISCUIT FILMWORKS LOS ANGELES GAS BRUSSELS WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX/WAM PARIS GOT FILM MADRID 2AM FILMS LONDON CZAR.NL AMSTERDAM

NEW ZEALAND NEW ZEALAND ARGENTINA UNITED KINGDOM DOMINICAN REPUBLIC USA USA USA USA UNITED KINGDOM UNITED KINGDOM USA USA USA BELGIUM FRANCE SPAIN UNITED KINGDOM THE NETHERLANDS

INTEL PROCTER & GAMBLE PROCTER & GAMBLE BP BP COCA-COLA COCA-COLA ORANGE

COMPUTING OLYMPIC SPONSORSHIP OLYMPIC SPONSORSHIP WORLDCUP 2010 SPONSORSHIP WORLDCUP 2010 SPONSORSHIP WORLD CUP 2010 CORPORATE WORLD CUP 2010 CORPORATE ORANGE MOBILE

VENABLES BELL & PARTNERS SAN FRANCISCO WIEDEN+KENNEDY PORTLAND WIEDEN+KENNEDY PORTLAND OGILVY JOHANNESBURG OGILVY JOHANNESBURG SANTO BUENOS AIRES SANTO BUENOS AIRES FALLON LONDON

IMPERIAL WOODPECKER SANTA MONICA EPOCH FILMS BEVERLY HILLS/RATTLING STICK NEW YORK MJZ LOS ANGELES BOUFFANT JOHANNESBURG BOUFFANT JOHANNESBURG PARK PICTURES SANTA MONICA PARANOID US CULVER CITY RSA FILMS LONDON

USA USA USA SOUTH AFRICA SOUTH AFRICA ARGENTINA ARGENTINA UNITED KINGDOM

BANKING, INVESTMENT & INSURANCE A21/002 A21/003 A21/021 A21/056 A21/068 A21/080 A21/081 A21/087 A21/099 A21/110 A21/128 A21/130 A21/146

WORKING LESS HOW IT USED TO BE LEGEND PARKOUR BUS PONY TRUCK FACES FIRST CLASS QUE SERA SERA HAIR CONDITIONING SO BACKWARDS BRIDGE

HBF HBF ALLAN GRAY ACTIVOBANK ING DIRECT GMAC GMAC SEKERBANK ETRADE FINANCIAL THAI LIFE INSURANCE CO. SANTANDER 1ST FOR WOMEN INSURANCE MUANG THAI LIFE ASSURANCE

BUSINESS EQUIPMENT & SERVICES A22/013 A22/014 A22/017 A22/035 A22/036

DRAMA QUEEN KYLE PRESENTATION GUY BOSS CASUAL FRIDAY

CFP-E/SHOTS FEDEX FEDEX CAREERBUILDER.COM CAREERBUILDER.COM

COMMERCIAL PUBLIC SERVICES A23/023 A23/032 A23/064 A23/091 A23/093 A23/100 A23/101 A23/102 A23/103 A23/168 A23/169 A23/182 A23/183 A23/184 A23/194 A23/203 A23/206 A23/217 A23/230

WEST BANK QUE SERA SERA DREAM DATE FANTASTIC JOURNEY RELOAD TUBE SOCKS PROMISE LAND REFEREE TIME TRAVEL JOSH’S BAND SINGALONG KAREN RATTLE DINNER PLANS EXTRAS WORDS HUNT ROCKY LEO

CORPORATE IMAGE A24/012 A24/016 A24/017 A24/044 A24/045 A24/048 A24/049 A24/051

ROCKSTAR KIDS YOU’LL NEVER WALK ALONE CAFE OWNERS VS MAMAS CAR GUARDS VS BOYTIES ROGER MILLA QUEST GOLDSPOTS A-TEAM

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FILM SHORTLIST

25

CAT

TITLE

ADVERTISER

PRODUCT

ADVERTISING AGENCY

PRODUCTION COMPANY

A24/062 A24/063 A24/064 A24/066 A24/082 A24/102 A24/110 A24/111 A24/112 A24/113 A24/114 A24/124

CUCKOO TOILET PAPER VAJILLA CROWD RIDER SON AIRBALL UNICORN LOCKER ROOM CATFIGHT ANGRY LET’S TALK AUTOGRAPH

TELECINCO TELECINCO TELECINCO SUBARU AUSTRALIA RENAULT ESPAÑA COMERCIAL ORANGE INTERNATIONAL LG ELECTRONICS LG ELECTRONICS LG ELECTRONICS LG ELECTRONICS CERVECERÊA CUAUHTÉMOC MOCTEZUMA ALPARGATAS

CORPORATE FLU AWARENESS CORPORATE FLU AWARENESS CORPORATE FLU AWARENESS SUBARU CORPORATE BELIEFS SAFETY AFRICA CUP FOOTBALL SPONSORSHIP MOBILE PHONE MISUSE AWARENESS MOBILE PHONE MISUSE AWARENESS MOBILE PHONE MISUSE AWARENESS MOBILE PHONE MISUSE AWARENESS THE WORLD CUP RUGBY SPONSORSHIP

LOLA MADRID LOLA MADRID LOLA MADRID LEO BURNETT SYDNEY PUBLICIS COMUNICACIÎN ESPAÑA MADRID PUBLICIS CONSEIL PARIS Y&R NEW YORK Y&R NEW YORK Y&R NEW YORK Y&R NEW YORK DDB ARGENTINA BUENOS AIRES TALENT SÃO PAULO

PUENTE AÉREO BARCELONA PUENTE AÉREO BARCELONA PUENTE AÉREO BARCELONA REVOLVER SYDNEY GOT FILM BARCELONA PREMIÉRE HEURE SAINT-CLOUD SMITH AND JONES LONDON SMITH AND JONES LONDON SMITH AND JONES LONDON SMITH AND JONES LONDON CENTRAL FILMS MEXICO CITY TOCA DOS FILMES SÃO PAULO

COUNTRY SPAIN SPAIN SPAIN AUSTRALIA SPAIN FRANCE USA USA USA USA ARGENTINA BRAZIL

TELEVISION NETWORK VW SPONSORSHIP VW SPONSORSHIP LIONS TOUR SPONSORSHIP LIONS TOUR SPONSORSHIP

MOTHER NEW YORK DDB UK LONDON DDB UK LONDON JWT LONDON JWT LONDON

HARVEST SANTA MONICA SMUGGLER HOLLYWOOD SMUGGLER LONDON OUTSIDER LONDON OUTSIDER LONDON

USA UNITED KINGDOM UNITED KINGDOM UNITED KINGDOM UNITED KINGDOM

BREAST CANCER DETECTION SMOKING AWARENESS SMOKING AWARENESS SMOKING AWARENESS SMOKING AWARENESS SMOKING AWARENESS ANTI-SMOKING AIDS AWARENESS ROAD SAFETY SEATBELT AWARENESS ROAD SAFETY ANTI-SMOKING AWARENESS ROAD SAFETY

Y&R LIMA ARNOLD WORLDWIDE BOSTON ARNOLD WORLDWIDE BOSTON ARNOLD WORLDWIDE BOSTON ARNOLD WORLDWIDE BOSTON ARNOLD WORLDWIDE BOSTON BDDP UNLIMITED PARIS TBWA\PARIS ABBOTT MEAD VICKERS BBDO LONDON ALEXANDER COMMERCIALS MIDDLESEX SPILBERG OSLO DDB PARIS SAATCHI & SAATCHI BRUSSELS

CINESETENTA LIMA SMUGGLER NEW YORK SMUGGLER NEW YORK SMUGGLER NEW YORK SMUGGLER NEW YORK SMUGGLER NEW YORK WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX THOMAS THOMAS FILMS LONDON ALEXANDER COMMERCIALS MIDDLESEX PARADOX OSLO LES TÉLÉCRÉATEURS PARIS LOVO FILMS BRUSSELS

PERU USA USA USA USA USA FRANCE FRANCE UNITED KINGDOM UNITED KINGDOM NORWAY FRANCE BELGIUM

HUMAN RIGHTS AWARENESS AVIATION ENVIRONMENTAL AWARENESS RAPE AWARENESS DISABILITY & COMMUNITY CARE DISABILITY & COMMUNITY CARE EARTH HOUR GLOBAL SEX TRADE AWARENESS CRAFTSMENSHIP AWARENESS DEATH PENALTY AWARENESS ENVIRONMENTAL AWARENESS WOMEN PROTECTION HOTLINE ARMY RECRUITMENT ARMY RECRUITMENT ARMY RECRUITMENT READING AWARENESS ITALIAN CULTURE WEEK ITALIAN CULTURE WEEK DISABILITY AWARENESS DISABILITY AWARENESS DOMESTIC VIOLENCE AWARENESS DOMESTIC VIOLENCE AWARENESS DOMESTIC VIOLENCE AWARENESS

JWT SPAIN BARCELONA MOTHER LONDON METROPOLITAN REPUBLIC JOHANNESBURG THE CAMPAIGN PALACE SYDNEY THE CAMPAIGN PALACE SYDNEY CLEMENGER BBDO WELLINGTON COLMAN RASIC SYDNEY SCHOLZ & FRIENDS BERLIN TBWA\PARIS LEO BURNETT SYDNEY LEO BURNETT HONG KONG DDB STOCKHOLM DDB STOCKHOLM DDB STOCKHOLM COLENSO BBDO AUCKLAND SAATCHI & SAATCHI MILAN SAATCHI & SAATCHI MILAN BBDO MEXICO BBDO MEXICO OGILVY & MATHER MUMBAI OGILVY & MATHER MUMBAI Y&R GERMANY FRANKFURT

RCR FILMS BARCELONA RATTLING STICK LONDON HOTEL DE VILLE JOHANNESBURG CARAVAN @ THE FEDS SYDNEY CARAVAN @ THE FEDS SYDNEY CLEMENGER BBDO WELLINGTON ANONYMOUS CONTENT CULVER CITY CZAR FILM HAMBURG WARM & FUZZY PARIS/GANG FILMS PARIS REVOLVER SYDNEY PHENOMENA BANGKOK JESPER KOUTHOOFD STOCKHOLM JESPER KOUTHOOFD STOCKHOLM JESPER KOUTHOOFD STOCKHOLM ANDERSON M STUDIO LONDON SAATCHI & SAATCHI MILAN SAATCHI & SAATCHI MILAN ILUMINA PRODUCCIONES ESTADO DE MÉXICO ILUMINA PRODUCCIONES ESTADO DE MÉXICO LITTLE LAMB FILMS MUMBAI LITTLE LAMB FILMS MUMBAI RAKETENFILM FRANKFURT AM MAIN

SPAIN UNITED KINGDOM SOUTH AFRICA AUSTRALIA AUSTRALIA NEW ZEALAND AUSTRALIA GERMANY FRANCE AUSTRALIA HONG KONG SWEDEN SWEDEN SWEDEN NEW ZEALAND ITALY ITALY MEXICO MEXICO INDIA INDIA GERMANY

ANIMAL RIGHTS CHARITY RESIDENTIAL CARE AIDS FOUNDATION FUNDRAISING ORGAN & TISSUE DONATION

XXS SCHIPHOL CHEIL WORLDWIDE COMMUNICATIONS JOHANNESBURG OGILVY JOHANNESBURG OGILVY MEXICO

XXS SCHIPHOL KOJAK FILMS JOHANNESBURG EGG FILMS CAPE TOWN CENTRAL FILMS MEXICO CITY

THE NETHERLANDS SOUTH AFRICA SOUTH AFRICA MEXICO

BROADCAST IDENTS & SPONSORSHIPS A25/022 A25/027 A25/028 A25/030 A25/031

YELLING COCONUT FOOTBALL GIRAFFE TRAINING

TRUTV VOLKSWAGEN VOLKSWAGEN HSBC GLOBAL HSBC GLOBAL

PUBLIC HEALTH & SAFETY A26/030 A26/058 A26/060 A26/064 A26/065 A26/066 A26/080 A26/084 A26/099 A26/107 A26/108 A26/109 A26/122

FINGERMAN CUSTOMER SERVICE LECTURE HALL BIG BUSINESS PR PROBLEM SOLVING MEETING GRAFFITI NAMED RIDERS EMBRACE LIFE BUGS CHANCE HEAVEN

LEAGUE AGAINST CANCER AMERICAN LEGACY FOUNDATION AMERICAN LEGACY FOUNDATION AMERICAN LEGACY FOUNDATION AMERICAN LEGACY FOUNDATION AMERICAN LEGACY FOUNDATION NON-SMOKERS RIGHTS AIDES DEPT FOR TRANSPORT SUSSEX SAFER ROADS PARTNERSHIP NMCU INPES BIVV/IBSR

PUBLIC AWARENESS MESSAGES A27/022 A27/027 A27/039 A27/046 A27/047 A27/049 A27/062 A27/072 A27/081 A27/091 A27/104 A27/112 A27/113 A27/114 A27/119 A27/121 A27/122 A27/127 A27/128 A27/145 A27/146 A27/147

MUGABE POLAR BEAR NO KEN & ANGE MARIA & GERARD FATSO GOODNIGHT, TRAVEL WELL LIFE WITHOUT CRAFTSMEN DEATH PENALTY MONKEY AIRBAG MEMORIZE MACHINE WAKE UP WATCH GOING WEST PUDDLE ESCALATOR WORK SCHOOL SOFTWARE ENGINEER BUS DRIVER STAIRS

AMNESTY INTERNATIONAL PLANE STUPID POWA (PEOPLE AGAINST WOMEN ABUSE) NATIONAL DISABILITY SERVICES NATIONAL DISABILITY SERVICES WWF MTV EXIT FOUNDATION DEUTSCHER HANDWERKSKAMMERTAG AMNESTY INTERNATIONAL FRANCE WWF HARMONY HOUSE SWEDISH ARMED FORCES SWEDISH ARMED FORCES SWEDISH ARMED FORCES NEW ZEALAND BOOK COUNCIL MIBAC MIBAC FUNDACIÎN TELETÎN FUNDACIÎN TELETÎN BREAKTHROUGH TRUST BREAKTHROUGH TRUST BFF BUNDESVERBAND FRAUENBERATUNGSSTELLEN UND FRAUENNOTRUFE

FUNDRAISING & APPEALS FORGOTTEN ANIMALS DAY KISS SELINAH HIGHWAY

XXS/DIERENBESCHERMING NKOSI’S HAVEN THE TOPSY FOUNDATION HOSPITAL SAN JOSÉ

producing award winning commercials, feature films, tv shows and interactive projetcs for Brazil and other countries...

5 YEARS and heading for the hexa !

Braziliansoul

www.bossanovafilms.com.br

A28/003 A28/016 A28/032 A28/048

FRIDAY, JUNE 25, 2010

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FILM SHORTLIST

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COUNTRY

A28/051 A28/057 A28/063 A28/073 A28/078

FIGHT TURN AROUND LOTTERY PC FOLDERS GRANDDAUGHTER

CANADIAN CANCER SOCIETY BARNARDO’S CHILDHOPE ASIA PHILIPPINES UNICEF BCI

CANCER SOCIETY CHARITY CHILDREN’S CHARITY CHILD SEXUAL ABUSE PREVENTION THE ROSES FOUNDATION

DDB CANADA/TORONTO BBH LONDON BBDO GUERRERO/PROXIMITY PHILIPPINES MAKATI CITY OGILVY & MATHER SANTIAGO MCCANN ERICKSON CHILE SANTIAGO

INDUSTRY FILMS TORONTO GORGEOUS ENTERPRISES LONDON POSTMANILA MAKATI CITY SMOG SANTIAGO FABULA SANTIAGO

CANADA UNITED KINGDOM THE PHILIPPINES CHILE CHILE

COCA-COLA ANHEUSER-BUSCH INBEV ADIDAS JAPAN AB-INBEV SIXT HBO UNILEVER BAYERISCHE MOTOREN WERKE AKTIENGESELLSCHAFT PHILIPS PHILIPS PHILIPS PHILIPS PHILIPS PHILIPS AB INBEV JCPENNEY LUVS PUMA NIKE JAPAN NIKE GATORADE DANONE TOYOTA NEW ZEALAND ONCE FOUNDATION & FSC INSERTA EDITRICE QUADRATUM DIESEL VOLKSWAGEN SWEDEN VOLKSWAGEN SWEDEN VOLKSWAGEN SWEDEN GERMANWINGS EA SPORTS DIAGEO VIRGIN ATLANTIC VIRGIN ATLANTIC VIRGIN ATLANTIC VIRGIN ATLANTIC

COCA-COLA STELLA ARTOIS BEER BASEBALL PRODUCTS OWN THE MOMENT BUD LIGHT BEER CAR HIRE HBO CHANNELS AXE SHOWER GEL MOTORCYCLE FLAT SCREEN TV’S FLAT SCREEN TV’S FLAT SCREEN TV’S FLAT SCREEN TV’S FLAT SCREEN TV’S WAKE UP LIGHT STELLA ARTOIS JEWELLERY DIAPERS LOVE = FOOTBALL CAMPAIGN FREE RUN SHOES LIVESTRONG SPORTS DRINK EVIAN WATER IQ DISABILITY AWARENESS ROLLING STONE MAGAZINE MOWIE HELMET VW BLUEMOTION VW BLUEMOTION VW BLUEMOTION PLANEMOB FIFA10 VIDEO GAME JOHNNIE WALKER WHISKY TRAVEL TRAVEL TRAVEL TRAVEL

DEFINITION 6 ATLANTA MOTHER LONDON TBWA\HAKUHODO (180\TBWA) TOKYO/HAKUHODO TOKYO DDB CHICAGO JUNG VON MATT HAMBURG BBDO NEW YORK BBH NEW YORK SERVICEPLAN MUNICH DDB UK LONDON/DDB WORLDWIDE LONDON DDB UK LONDON/DDB WORLDWIDE LONDON DDB UK LONDON/DDB WORLDWIDE LONDON DDB UK LONDON/DDB WORLDWIDE LONDON DDB UK LONDON/DDB WORLDWIDE LONDON TRIBAL DDB AMSTELVEEN MOTHER NEW YORK SAATCHI & SAATCHI NEW YORK SAATCHI & SAATCHI NEW YORK DROGA5 NEW YORK WIEDEN+KENNEDY TOKYO WIEDEN+KENNEDY PORTLAND TBWA\CHIAT\DAY LA BETC EURO RSCG PARIS SAATCHI & SAATCHI AUCKLAND SHACKLETON MADRID D’ADDA LORENZINI VIGORELLI BBDO MILAN SHACKLETON BARCELONA DDB STOCKHOLM DDB STOCKHOLM DDB STOCKHOLM LUKAS LINDEMANN ROSINSKI HAMBURG WIEDEN+KENNEDY AMSTERDAM BBH LONDON Y&R NEW YORK Y&R NEW YORK Y&R NEW YORK Y&R NEW YORK

DEFINITION 6 ATLANTA STINK LONDON AOI ADVERTISING PROMOTION TOKYO TOOL OF NORTH AMERICA SANTA MONICA @RADICAL.MEDIA BERLIN BISCUIT FILMWORKS LOS ANGELES STATION FILM CULVER CITY THE BRAINSTORMCLUB MUNICH RSA FILMS LONDON RSA FILMS LONDON RSA FILMS LONDON RSA FILMS LONDON RSA FILMS LONDON POOL WORLWIDE AMSTERDAM MEKANISM NEW YORK HUNGRY MAN NEW YORK STATION FILM NEW YORK KNUCKLEHEAD LONDON TAIYO KIKAKU TOKYO/RHIZOMATIKS TOKYO @RADICAL.MEDIA NEW YORK CAVIAR LA SANTA MONICA PARTIZAN PARIS THICK AS THIEVES AUCKLAND OUTLET OVIDEO MADRID DIAVIVA REGGIO EMILIA TOMA 78 BARCELONA BIRTH STOCKHOLM BIRTH STOCKHOLM BIRTH STOCKHOLM LUKAS LINDEMANN ROSINSKI HAMBURG WIEDEN+KENNEDY AMSTERDAM HLA LONDON O POSITIVE FILMS NEW YORK O POSITIVE FILMS NEW YORK O POSITIVE FILMS NEW YORK O POSITIVE FILMS NEW YORK

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USA BELGIUM GERMANY SPAIN

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OTHER SCREENS B02/002 B02/018 B02/022 B02/024 B02/031 B02/036 B02/039

EMIRATES TAKE OFF LIVE INTERACTIVE BILLBOARD YES, VIRGINIA THE AFFAIR REPLAY I’M HERE RACING UNDER GREEN

INTEGRATED FILM B03/001 B03/003

THE AFFAIR HBO TRAFALGAR SQUARE SINGALONG EVENT T-MOBILE

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THE AFFAIR EVI NAKED LAST CALL SWAP

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FRIDAY, JUNE 25, 2010

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D6 29 Titanium Listings:25•01 front 24/06/10 21:16 Page29

TITANIUM AND INTEGRATED SHORTLIST CAT

TITLE

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ENTERED BY

COUNTRY

29

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GOODWILL

GOODWILL/LEVI’S CLOTHES DONATION

BBDO WEST SAN FRANCISCO

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A01/063

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JOHN F. KENNEDY PRESIDENTIAL LIBRARY

MOON LANDING 40TH ANNIVERSARY

THE MARTIN AGENCY RICHMOND

USA

A01/078

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NIKE LIVESTRONG FOUNDATION

CANCER AWARENESS

WIEDEN+KENNEDY PORTLAND

USA

A01/088

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A01/095

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CLEMENGER BBDO MELBOURNE

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A01/113

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BRANDAID PROJECT

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CANADA

A01/114

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NOKIA

NAVIGATION SERVICES

FARFAR STOCKHOLM

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A01/127

START THINKING SOLDIER

BRITISH ARMY/C.O.I

ARMY RECRUITMENT

PUBLICIS LONDON

UNITED KINGDOM

A01/134

PROUD SPONSOR OF MOMS

PROCTER & GAMBLE

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A01/142

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FORSMAN & BODENFORS GOTHENBURG

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A01/154

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GREY NEW YORK

USA

A01/165

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A01/175

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A01/177

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UNITED KINGDOM

A01/181

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NEW ZEALAND

A01/189

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A01/214

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A01/224

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A01/274

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OGILVY & MATHER NEW YORK

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A01/295

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TBWA\CHIAT\DAY NEW YORK

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A01/303

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BRAZIL

A01/333

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UNITED KINGDOM

A01/336

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A01/344

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THE OFFICIAL CANNES LIONS NEWS WEBSITE FRIDAY, JUNE 25, 2010

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D6-30:Lions 24/06/10 21:17 Page30

Joaquin Baca-Asay Director. Cameraman. Realist.

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D6-29 Titanium Listings:25•01 front 25/06/10 23:02 Page31

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ADVERTISING AGENCY

PRODUCTION COMPANY

COUNTRY

PHILIPS NEDBANK DIAGEO GOOGLE EMEA ALLSTATE PERNOD RICARD BARCLAYS GLOBAL INVESTORS MICROSOFT CANAL+

CINEMA TV INVESTMENT SERVICES GUINNESS BROWSER EXTENSIONS INSURANCE ABSOLUT VODKA BRANDED CONTENT BANKING XBOX HALO 3 ODST TELEVISION CHANNEL

RSA FILMS LONDON HUMANOID FILMS /EGG FILMS KNUCKLEHEAD LONDON FIRST AVE MACHINE NEW YORK IMPERIAL WOODPECKER SANTA MONICA MJZ LOS ANGELES MJZ LOS ANGELES MJZ LOS ANGELES SOIXAN7E QUIN5E PARIS

DDB UK LONDON/DDB WORLDWIDE LONDON NET#WORK BBDO JOHANNESBURG ABBOTT MEAD VICKERS BBDO LONDON BBH NEW YORK LEO BURNETT USA CHICAGO TBWA\CHIAT\DAY NEW YORK VENABLES BELL & PARTNERS SAN FRANCISCO T.A.G. SAN FRANCISCO BETC EURO RSCG PARIS

UNITED KINGDOM SOUTH AFRICA UNITED KINGDOM USA USA USA USA USA FRANCE

TETRAPAK CFP-SHOTS PHILIPS DIAGEO PONLE CORAZON ALLSTATE AB INBEV STELLA ARTOIS VH1 PERNOD RICARD OLD SPICE INNOCENCE EN DANGER CANAL+ ORANGE INTERNATIONAL MINISTRY OF COMMUNITY DEVELOP., YOUTH& SPORTS CAREERBUILDER.COM MICROSOFT

ECO-FRIENDLY PACKAGING CFP YOUNG DIRECTOR AWARD CINEMA TV GUINNESS PERUVIAN CANCER FOUNDATION INSURANCE STELLA ARTOIS BEER STELLA LEGERE BEER TV CHANNEL ABSOLUT VODKA BRANDED CONTENT BODY WASH SEXUAL ABUSE AWARENESS TELEVISION CHANNEL AFRICA CUP FOOTBALL SPONSORSHIP COMMUNITY DEVELOPMENT JOB SEARCH WEBSITE XBOX HALO 3 ODST

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OLD MUTUAL DIAGEO LEVI’S ADIDAS INTERNATIONAL LION NATHAN MICROSOFT BBC CENTRAL OFFICE OF INFORMATION

FINANCIAL SERVICES GUINNESS CLOTHING ADIDAS SPORTSWEAR JAMES BOAG’S PURE LAGER XBOX HALO 3 ODST BBC LOCAL RADIO FIRE SAFETY

EGG FILMS CAPE TOWN KNUCKLEHEAD LONDON ANONYMOUS CONTENT CULVER CITY MJZ LONDON REVOLVER SYDNEY/BISCUIT FILMWORKS LA MJZ LOS ANGELES RED BEE MEDIA LONDON BLINK PRODUCTIONS LONDON

DRAFTFCB JOHANNESBURG ABBOTT MEAD VICKERS BBDO LONDON WIEDEN+KENNEDY PORTLAND 180 AMSTERDAM (180\TBWA) PUBLICIS MOJO SYDNEY T.A.G. SAN FRANCISCO RAINEY KELLY CAMPBELL ROALFE/Y&R RAINEY KELLY CAMPBELL ROALFE/Y&R

SOUTH AFRICA UNITED KINGDOM USA THE NETHERLANDS AUSTRALIA USA UNITED KINGDOM UNITED KINGDOM

NIKE CANAL+ DIAGEO UNILEVER PERNOD RICARD ACTIVISION

JORDAN BRAND TELEVISION CHANNEL GUINNESS AXE BODY SPRAY ABSOLUT VODKA BRANDED CONTENT X-MEN ORIGINS VIDEO GAME

MJZ LOS ANGELES SOIXAN7E QUIN5E PARIS KNUCKLEHEAD LONDON PRETTYBIRD LOS ANGELES MJZ LOS ANGELES MJZ LOS ANGELES

WIEDEN+KENNEDY NEW YORK BETC EURO RSCG PARIS ABBOTT MEAD VICKERS BBDO LONDON PONCE BUENOS AIRES TBWA\CHIAT\DAY NEW YORK TOY NEW YORK

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T.A.G. SAN FRANCISCO PUBLICIS & HAL RINEY SAN FRANCISCO BELGIOVANE WILLIAMS MACKAY ULTIMO CHI & PARTNERS LONDON M&C SAATCHI SYDNEY MOTHER LONDON MOTHER LONDON GREY WORLDWIDE DÜSSELDORF BBDO NEW YORK OGILVY JOHANNESBURG LEO BURNETT USA CHICAGO TBWA\CHIAT\DAY NEW YORK WIEDEN+KENNEDY PORTLAND RAINEY KELLY CAMPBELL ROALFE/Y&R LONDON DDB AMSTERDAM GREY ARGENTINA BUENOS AIRES DROGA5 NEW YORK

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MOTHER LONDON RUF LANZ ZÜRICH ABBOTT MEAD VICKERS BBDO LONDON REVOLVER SYDNEY JWT LONDON COLENSO BBDO AUCKLAND BETC EURO RSCG PARIS WIEDEN+KENNEDY TOKYO

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BETC EURO RSCG PARIS WIEDEN+KENNEDY PORTLAND ABBOTT MEAD VICKERS BBDO LONDON JACK MORTON WORLDWIDE LONDON WCRS LONDON DDB UK LONDON/DDB WORLDWIDE LONDON 180 AMSTERDAM (180\TBWA) TBWA\PARIS TRIBAL DDB AMSTELVEEN BBH LONDON

UNITED KINGDOM USA UNITED KINGDOM UNITED KINGDOM UNITED KINGDOM UNITED KINGDOM THE NETHERLANDS FRANCE SWEDEN UNITED KINGDOM

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PASSION PICTURES LONDON THE EBELING GROUP NEW YORK PRODIGO FILMS SÃO PAULO PASSION PICTURES LONDON ANDERSON M STUDIO LONDON VASCOLO BUENOS AIRES FINGER INDUSTRIES SHEFFIELD STUDIO AKA LONDON REBOLUCION BUENOS AIRES NATHAN LOVE NEW YORK WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX

PASSION PICTURES LONDON JWT NEW YORK F/NAZCA SAATCHI & SAATCHI SÃO PAULO OGILVY ARGENTINA BUENOS AIRES COLENSO BBDO AUCKLAND CRAVEROLANIS BUENOS AIRES THESE DAYS ANTWERP RAINEY KELLY CAMPBELL ROALFE/Y&R LONDON GREY ARGENTINA BUENOS AIRES DRAFTFCB NEW YORK H SURESNES/EURO RSCG MILANO

UNITED KINGDOM USA BRAZIL ARGENTINA NEW ZEALAND ARGENTINA BELGIUM UNITED KINGDOM ARGENTINA USA FRANCE

PRODUCTION DESIGN A01/022 A01/026 A01/030 A01/031 A01/038 A01/057 A01/058 A01/059 A01/061

DARKROOM RAIN BRING IT TO LIFE CHROME EXTENSIONS SPEECH I’M HERE FAKE THE LIFE CLOSET

DIRECTION A02/032 A02/050 A02/088 A02/122 A02/141 A02/143 A02/168 A02/169 A02/178 A02/191 A02/199 A02/208 A02/209 A02/212 A02/231 A02/242 A02/246

LIGHTNING KIDNAP THE GIFT BRING IT TO LIFE FAITH SPEECH UP THERE PIRATE PAPER BOAT ANTI-ROCK STAR I’M HERE THE MAN YOUR MAN COULD SMELL LIKE SWIMMING POOL CLOSET AIRBALL FUNERAL WORST SEAT THE LIFE

CINEMATOGRAPHY A03/011 A03/068 A03/073 A03/087 A03/091 A03/120 A03/122 A03/123

NATURE OF WISDOM BRING IT TO LIFE GO FORTH EVERY TEAM NEEDS THE SPARK THE ISLAND THE LIFE LOCAL RADIO BREATHE

EDITING A04/003 A04/026 A04/029 A04/040 A04/050 A04/057

SLAP CLOSET BRING IT TO LIFE DESTINY I’M HERE CAPTIVITY

COPYWRITING A05/004 A05/022 A05/078 A05/079 A05/083 A05/101 A05/102 A05/119 A05/121 A05/122

BE STILL UNACCEPTABLE BRAVEHEART SEVEN NEW KID CAT SITTER SWORD COLLECTOR CHANCE THE MAN WHO WALKED AROUND THE WORLD FUNERAL

BEST USE OF MUSIC A06/001 A06/003 A06/010 A06/012 A06/018 A06/025 A06/029 A06/038 A06/044 A06/055 A06/074 A06/112 A06/115 A06/124 A06/139 A06/145 A06/146

THE LIFE SHADOW PUPPETS TIM CAHILL - THE OPERA CLEVER HAMSTERS WHALE ORGAN PLAYER PIANO A PEACE OF MIND UP & UP SELINAH SPEECH I’M HERE SLEEPWALKER LOCAL RADIO HERO SNOWMAN HARDCHORUS UK

SOUND DESIGN A07/001 A07/002 A07/043 A07/051 A07/052 A07/056 A07/088 A07/091

POLAR BEAR DEATH PROOF RED WIRES THE ISLAND WAR GOING WEST ROUTINE NIKE MUSIC SHOE

SPECIAL EFFECTS & COMPUTER GRAPHICS A08/008 A08/023 A08/027 A08/029 A08/034 A08/048 A08/066 A08/074 A08/097 A08/100

ROLLERBABIES HUMAN CHAIN BRING IT TO LIFE FOCUS GROUP STEEPLECHASE THE GIFT EVERY TEAM NEEDS THE SPARK DEATH PENALTY CAROUSEL ECONOMY DRIVE

ANIMATION A09/004 A09/051 A09/073 A09/075 A09/079 A09/082 A09/085 A09/087 A09/096 A09/105 A09/108

‘THE BEATLES: ROCK BAND’ INTRO CINEMATIC YES, VIRGINIA INVOCATION HAPPY KINGDOM GOING WEST DOG HANK THE SINGING BOTTLE WINTER OLYMPICS SNOWMAN CABBAGE, INTERRUPTED DOG

FRIDAY, JUNE 25, 2010

04-05_AD:Lions 22/06/10 18:34 Page4

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1

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04-05_AD:Lions 22/06/10 18:34 Page5

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2:27:34 PM

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34

SOUTH AND CENTRAL AMERICA

The South has

Everything y

FRIDAY, JUNE 25, 2010

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SOUTH AND CENTRAL AMERICA

35

you want A HARD-WON AVERSION TO THE FIRST WORLD’S CREDIT-BASED LIFESTYLE MEANS SOUTH AND CENTRAL AMERICA BARELY NOTICED THE GLOBAL ECONOMIC CRISIS. AND THIS YEAR HAS SEEN ADVANCES BY LESS WELL-KNOWN COUNTRIES. GARY SMITH REPORTS ASK ANYONE across South and Central America how business has been over the last 18 months and the answer is pretty uniform: Foreign business is down, but not by much, and local business is as robust as ever.

Alongside that, countries previously rarely visited by crews, including Peru, Uruguay and to a lesser degree Chile, are rapidly becoming prime destinations for directors who are looking for something different, but offering capable crews and abundant talent.

PERU “I JUST finished a seven-day

A 19th century street in Montevideo

tour around various jungle and high-sierra locations for a new foreign client,” Bruno Canale, executive producer at APU Productions in Peru, says. “Generally, I’m delighted to say that foreign business is growing. Recently we were shooting an infomercial for a product called Shakeology from a company called Beachbody.com, and right now I’m putting the final touches to a shoot for the History Channel which will require various helicopter pickups in the middle of the jungle. We’ll be there for 57 days with 14 crew.”

It is still the case that the most used locations are around the Cusco area, which includes the magnificent ruins of Machu Picchu. “Europeans still tend to ask mainly for the old sites, but Peru offers so much more than that,” Canale says.

“Europeans are coming increasingly often, with Japan, Korea and the US also regulars for documentaries, but not so much for commercials

yet.”One of the aspects of Peru increasingly attracting advertising shoots is the country’s enormous wheat and rye fields.

“Because our harvests are between May and June, we receive requests to film them regularly,” Canale says. “ We have a mix of every European look as well as African, Asian — including Chinese, Korean and Japanese — plus local Creole and, of course, Indians.

“Our talent fees are competitive. A one-year global buyout for the main character for a Caramilk project cost $1,500.

Extras are less than $200 for a one-day shoot, and, if it is for more, it is very negotiable.”

Upmarket housing estates with a Desperate Housewives look are probably not what outsiders expect from Peru. “The last year has been crazy in terms of the amounts of bids I’ve been involved in, and for a host of reasons Peru is really now in many more people’s minds,” Canale says.

“There are some limitations on the lab side, for example, if a director wants to shoot 35mm on an Arri 535 and then develop locally, the local lab is not up to standard. But I have a good relationship with EFD in Mexico and with Packair, the biggest movie shipper in the US, so there are always ways around such things.”

BRAZIL ONE aspect of the regional economy that did take a hit was the amount of work coming from abroad, but Marcos Menescal, executive producer at Paradiso Films, claims that his foreign business remains robust. “Our work is mainly coming from Europe despite FRIDAY, JUNE 25, 2010

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FRIDAY, JUNE 25, 2010

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SOUTH AND CENTRAL AMERICA

37

Quest for the Key :30

s like an archaeologist 1. We open on what look ert for something. searching through the dess els and maps and He’s in a giant pit with shov who’s been on the has the look of someone hunt for a long time.

around, we hear a 2. While he’s searching older wise sounding booming big voice of an man:

to search, checking un3. Our man continues y non-discovery. der every rock, noting ever

hidden ten golden V/O: Caramilk has Canada. keys somewhere in

booming 4. Suddenly we hear the again:

unlock the V/O: One of them will Caramilk Secret...

of V/O: ... And a quarter dollars.

voiceover

searching for another 5. Our man continues the voiceover again: moment. And we hear

a million

found inside V/O: The keys can be amilk bars. specially marked Car

caramilk.ca

ching drops his shovel 6. Our man stops sear n. He finally gets and looks up in frustratio speaking to him all that the voice has been along. s are in the bars.

V/O: Ahem..the key

nd 180 degrees, and 7. The camera pans arou been searching in a shows that the man has t from a gas dusty field. Across the stree nce store. station with a convenie ence). (think Corner Gas as refer

of the key being 8. We cut to an animation wrapped up in the bar.

a 9. SUPER: Caramilk.c

key in a Caramilk V/O: Find a golden to win. bar for your chance

man with a In front of the store is a from far away. megaphone. We see him once more as it And hear the voiceover aphone. comes through the meg

buying a bar at the 10. We cut back to him and embarrassed store. He’s exhausted, a real chance but happy to finally have of finding a key. ght V/O: You honestly thou und. hide them in the gro

they’d

Storyboard for APU Productions’ Caramilk shoot

CARAMILK BARS V/O: THEY’RE IN THE

the turmoil,” he says. “Budgets have shrunk, but we have adapted to this new reality.

“We have also been involved in an increasing number of TV shows and viral campaigns from all over the world. Despite the strength of the real, Brazil still offers great value, especially regarding talent and locations, and it remains one of the best production destinations in the world.”

Menescal has recently produced, directed and DOP’ed a job for Vale, one of the biggest mining companies in the world.

“It was shot in six different locations in the Amazon jungle, which meant that access involved spending days in boats, and walking miles while being eaten by mosquitoes,” he says. “On the other hand, the locations were stunning, and sleeping in hammocks, eat-

ing exotic fruits and meeting the locals were fantastic experiences for people used to living in cities. Amazonians are great human beings and we have lots to learn from them.”

Paradiso also recently completed a spot for whisky brand Johnnie Walker. The basic idea is simple; a musician talking to himself in front of a mirror. “The film opens backstage with a tortured-looking singer nervously holding a guitar with the sound of screaming fans in the background,” Menescal says. ”Suddenly his reflection turns to look at him and begins a passionate motivational speech encouraging him to overcome his fear of failure, telling him to ‘keep on walking’. The spot closes with the man returning to the stage.”

BRUNO CANALE: “EUROPEANS ASK MAINLY FOR THE OLD SITES, BUT PERU OFFERS SO MUCH MORE THAN THAT”

The spot was developed at BBH London and shot in one night at an abandoned factory in Sao Paulo.

According to the first survey of the Brazilian Association of Digital Agencies (ABRADI), Brazil, perhaps unsurprisingly, has the largest digital market in the region.

The study, published in September 2009, recorded more than 2,000 digital agencies in Brazil with a combined income of more than $400m.

It is expected that this total will rise to $500m this year.

The biggest players in digital advertising are AlmapBBDO, DM9DDB and AgenciaClick.

“There two campaigns in particular that got great results,” Aixa Rocca, of SA Journalists, says. “‘The Open Cage’, from AlmapBBDO for the Volkswagen EOS where Volkswagen made an interactive short movie with flying monsters chasing the car. The player then has to help the driver to escape. Without any other kind of communication effort (no TV or print), they had more than 1.200 posts on Twitter in the first week online. The average time spent at the webFRIDAY, JUNE 25, 2010

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SOUTH AND CENTRAL AMERICA

DDB Mexico’s new creative directors Hernan Ibarra and Walter Aregger

A fantasy English countryside re-created in Uruguay

site was eight minutes, and the site received visitors from 46 countries.”

AgenciaClick’s ‘One thing leads to another’ for the Fiat Doblo also involved a bespoke website where consumers were invited to write a story around the idea that “one thing leads to another”. “Then cartoonists created drawings combining the ideas with the Fiat Doblo,” Rocca says. “From 18 to 22 January, 12 artists took turns converting consumers’ ideas into illustrations, which were posted live on the website.” The thousands of drawings were then used in the Doblo campaign. Each

FRIDAY, JUNE 25, 2010

one of the 6,000 drawings was available in wallpaper and video form, which could be watched on demand or shared on social networks.

MEXICO CREATIVE directors Walter Aregger and Hernan Ibarra made their reputations while at Ponce Buenos Aires with a series of brilliant spots for Axe including ‘Chocolate man’ and ‘Destiny’. They have recently taken up new roles at DDB in Mexico where they are finding that the two countries are surprisingly similar. “There really are no great cultural differ-

ences,” Ibarra says. “We are Latin Americans, with a shared sense of humour, and shared passions and customs. The difference is that the Mexican ad industry is little less developed, and hence we are working hard in order to make the marketing platforms more risky, more innovative and more technological. And, of course, to generate really creative ideas that change consumer behaviour.

In order to realise its full potential, advertising in Mexico needs the explosion that Argentina already experienced a few years ago, and we are working to make that happen.”

The two moved to DDB

Mexico relatively recently and will not be entering any of their current work in competition at Lions 2010. “Since we have only been here a few months, most of our work is still in production,” Aregger says. “But we are competing with an Axe campaign called ‘Destiny’. It’s the last work we did before coming to Mexico and we believe it is a contender.”

The two have also been busy putting in place a new structure at the agency. “We have created a top-level digital department for which we brought in a digital director from Spain, plus we set up a new strategic planning structure,” Ibarra

says. “We are also currently launching a global campaign for a new VW car which is manufactured in Mexico.

“Also, we have just won an account to run the digital communication platforms of Herdez, one of the biggest food products companies in Mexico, and right now we are in the phase of seeding it. We hope reap the benefits the next year.”

URUGUAY THANKS to some stunning locations and capable, friendly crews, Uruguay is finally shedding its reputation as “that small, Switzerland-like place on the

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SOUTH AND CENTRAL AMERICA

other side of the Rio Plata”, and now attracts regular shoots from the US and Europe.

“During January we shot a commercial for a Polish client, for which we had to recreate a sort of English countryside, including crops, hills in the background and a narrow, winding road,” Pilar Haedo producer at Milagrito Films, says. “It had to be like a postcard, with a farm in the middle of beautiful countryside.

“Once the location was chosen, we had to scout more or less every farm in the country to find the right one. When we’d sorted that out, we had to manage lots of farm ani-

HERNAN IBARRA: “WE ARE LATIN AMERICANS, WITH A SHARED SENSE OF HUMOUR, PASSIONS AND CUSTOMS” mals including a family of ducks who in the spot cross the road and stop, terrified, when they see the delivery van coming.

And, last but not least, we had to manage an enormous quantity of cheese, and a very worried client.

“On one of [the client’s] last projects, all the cheese was rotten when it arrived in Argentina, and the consequences of that

happening again were too awful to think about. Finally, after all the stress of pre-production, the shoot went exceedingly well.”

Uruguay has always been a beautiful and compact place but crews have improved immeasurably in the last 10 years.

“These days we work with a lot of South American countries such as Argentina, Chile,

Brazil, Ecuador, Venezuela, Colombia and Mexico, plus the Caribbean, the US and Eastern Europe,” Haedo says. “And I have no doubt that one of the most important changes is in the quality and professionalism that you find everywhere here.

“Even though the dollar exchange rate is not helping us, Uruguay is a very secure country, moving between locations is very easy, to the point where you can even cover three movements in a shooting day to get, for example, to a desert 300km [186 miles] from Montevideo, and then be in an old colonial town two hours from there.”

Permits are quick and easy, and shooting dates can be changed as late as the night before the shoot. “All these things make the shoots easier

39

and less stressful, plus we are adept at improvising quick solutions. And then there’s Montevideo itself, which has an excellent variety of architecture, with plenty of different looks. Plus our talent is much cheaper, which is giving us a big advantage over Argentina,” Haedo says.

Griselda Gonzalez Gentile, producer at Maga Films, works in both Uruguay and Argentina: “Our office in Uruguay has been open for a year and we are seeing a good flow of work, with the bulk coming from the UK, Belgium and Russia,” she says.

“This country has huge potential thanks to some amazing beaches, including the famous Punta del Este, which is very modern and jet setlooking, right through to some

producing award winning commercials, feature films, tv shows and interactive projetcs for Brazil and other countries...

Braziliansoul

www.bossanovafilms.com.br

5 YEARS and heading for the hexa !

FRIDAY, JUNE 25, 2010

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SOUTH AND CENTRAL AMERICA

The Paso de los Toros bitter tonic campaign is all about sweet revenge by wronged lovers

absolutely unspoilt, traditional fishing villages. There is also a very special light created by the enormous Rio Plata. Plata means silver in Spanish and the light is indeed silvery.”

Maga Films’ recent shoots have included a spot for Balade butter and an international campaign by Saatchi & Saatchi for Swiss nasal spray Otrivin.

“Uruguay really is a very efficient place to shoot thanks

FRIDAY, JUNE 25, 2010

to its compactness,” Gonzalez Gentile says. “We can do super-modern offices through to colonial looks in Montevideo, and it’s very easy to clone places like Rome, Paris and Madrid. The most amazing thing about this country though, is how many wide open spaces there are where you see nobody, just fields and fields of soya, wheat, potatoes and hops. And the crops

ANDY ROSENBLATT: “EVERY YEAR WE DISCOVER MORE REASONS TO PRODUCE IN A REGION WITH FANTASTIC NATURAL LOCATIONS”

mature in a different period to that in Europe, which attracts quite a few shoots.”

The talent is also more varied than one might imagine: “From every nuance of Asian looks through to Europeans and Africans,” she says.

One of the biggest shoots in Uruguay in recent times was an Absolut Vodka spot for TBWA New York. Production was by MJZ Los Angeles with

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SOUTH AND CENTRAL AMERICA

41

+Castro’s Nicolas Pimentel and Pedro Saleh of Sake

Fredrik Bond directing and Oscar-winner Guillermo Navarro as the DP: “We had six shooting days,1,000 extras, helicopter shots, army equipment and main streets closed for four days,” Nicolas Aznarez, executive producer of service company El Camino Films, says. “The spot also involved 3,000 pillows and 10 tons of feathers. “ According to Ernerto Musitelli, owner of hire company Musitelli Film & Digital, there’s little that is not already in stock: “We have pretty much everything barring a few

effects like lightning strikes,” he says. “And a new lab opened recently that is excellent so getting 35mm. film developed is not a problem. I estimate that about 70% of the shoots we supply to are using film, but the percentage using digital is growing and we are investing in an ARRI Alexa.”

Another major project involved Metropolis Films servicing Beast for Ridley Scott Associates and Philips Cinema 21:9. “It was challenging to find elements, locations and put together a team for such an ambitious and original proj-

ect,” Andy Rosenblatt, executive director of Metropolis Films, says. International business is growing for Metropolis Films. “We managed to grow our international business by centering operations around our offices in Argentina, Uruguay, Venezuela and Puerto Rico,” Rosenblatt says. “Every year we discover more reasons to produce in a region blessed with fantastic natural locations, places that resemble the old and the new world, long sunny days, safety and the best quality to cost ratio in the world.”

ARGENTINA WRITER and director Peter Kosminsky (The Falklands War – The Untold Story, No Child Of Mine, Warriors, The Government Inspector) is working on the final edits of a fourpart documentary. Provisionally titled Homeland, it is about Israel and Palestine in the 1940s and the present day, for the UK’s Channel 4.

In 25 years of directing drama and documentaries, Kosminsky’s fondest memory of a shoot was in Argentina just after the Falklands conflict while film-

ing The Falklands War — The Untold Story. “We were the first UK crew in the country after the war and there was initially a lot of hostility towards us,” he says. “But once we’d got used to the fact that we were not going to be welcomed with open arms, I found that it was a lovely place to work, the technicians were excellent, the light was astonishing and the country itself just revealed one marvellous building or location after another.”

While Brazil may well be the digital motor of the re-

FRIDAY, JUNE 25, 2010

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SOUTH AND CENTRAL AMERICA

gion, Argentina is not very far behind, certainly in terms of the fully integrated planning and execution of multi-platform campaigns. +Castro, is a brand new innovation house that combines advertising creativity with cutting-edge technologies and full production capacity, with the objective of offering big ideas that create a turning point in the life of a brand. +Castro is led by Nicolas Pimentel, until recently director of integrated communications at BBDO Argentina. “+Castro is different because its core business is exclusively innovation in media, products and technologies,” Pimentel says. “We intend that everything we do will be a trailblazing communication experience.” Pimentel’s work at BBDO included awardwinning projects such as ‘Barrio bonito’ for Nike, ‘Bring slow dancing back’ for Doritos and ‘RetroSnacks’, a new product line for Pepsico Snacks.

The new company has formed a strategic alliance with production house Sake. “Sake will take care of the integration of platforms and the production of high-impact experiences for the consumer,” Pimentel says.

“And we openly declare our infidelity. This is not the standard agency-client marriage.

We will work exclusively on a project-by-project basis, developing bespoke work for clients as well as implementing the concept of brand matching, where we independently develop an innovative work and then shop it to companies.”

Over at BBDO Argentina, which is currently ranked at seventh in the world in the Integrated Agencies category of the WON report, executive creative directors Ramiro Rodriguez

FRIDAY, JUNE 25, 2010

Cohen and Rodrigo Grau have an interesting take on living through economic crises. “In Argentina we say that, whether you are an optimist or a pessimist, it’s still the same crisis.

And from an agency point of view, we believe that creativity is the best way to get through a difficult period,” Grau says.

Recent high-profile campaigns for two soft drink brands, Pepsi and Paso de los Toros, took an unorthodox approach in engaging consumers. “In Argentina, people have always pronounced Pepsi as if the second ‘p’ were a ‘c’ because for us the ‘ps’ sound is hard to say, so we based a rebranding campaign around asking for a Pecsi, and it resonated with consumers,” Rodriguez Cohen says. “Partly I think because it represented some flexibility by the brand. Because the brand immediately became part of the vernacular, sales rose significantly. When we started the campaign the brand had a modest market share, but that has since risen significantly.”

The Paso de los Toros campaign went, literally, straight to the heart. Based on the idea of offering spurned lovers a chance to send a message to their ex-partners, the campaign was called ‘Revenge is the best way to pay back an ex’, using a radio campaign to drive consumers to a website. Then, 72 of the best the messages posted by consumers were turned into a book which went on sale around the country: “We had thousands of messages and well over 100,000 visits to the website,” Grau says. “And for the brand, which is a bitter tonic, yet more reinforcement of its ‘Sweetness doesn’t quench your thirst’ strapline.”

Andes Beer’s agency, Del Campo Nazca Saatchi & Saatchi,

Pachacamac, the location of the APU Productions’ Caramilk shoot

RODRIGO GRAU: “WE BELIEVE THAT CREATIVITY IS THE BEST WAY TO GET THROUGH A DIFFICULT PERIOD”

came up with a novel idea to boost sales in an area best known for wine cultivation when it created and installed a ‘Teletransporter’ in 15 bars in the Mendoza region. The machine supposedly took people anywhere they wanted, but what it really did was provide suitable background noise for those who didn’t want their partners to know they were in a bar.

“It’s a long-established beer that created a sensation in the

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SOUTH AND CENTRAL AMERICA

region with this campaign,” Valentina Vescovi, of SA Journalists, says. “Brand preference improved by 10 points.”

Leo Burnett came up with an idea based on Argentinians’ love of gossip. It involved spreading a rumour that footballer Javier Mascherano had had his heart removed and replaced with a motor, in order to promote a new Fiat performance engine.

Clearly this is stretching the limits, even to the most credu-

lous, but having enlisted the help of the presenters of several celebrity TV gossip shows including Intruders, the most popular in the country, the rumour took off.

“They also created a website, supposedly written by a journalist claiming that his performances were mechanically enhanced,” Vescovi says. “It represents a whole new level of audience engagement, and as a result Fiat sold as many cars in

three weeks as they normally would in three months.”

Despite its reputation for great value shoots, even Argentina suffered in 2009. “The good news is that we had a lot of return business and new clients from France and the US,” Peluca Films executive producer Fabio Cimmarusti, says. “US producers are slowly coming around to the idea that Argentina is a good and cost-effective place to shoot, and, let’s face it, it’s pretty convenient geographically for them, too.”

One of Peluca’s biggest recent shoots was for Panasonic.

“They wanted a massive tomato fight, like the ones you see in Spain,” executive producer Alejandro di Michele says. “So we closed off five streets in St Elmo, shipped in 200 tonnes of tomatoes and 300 extras. There were a few rather shocked tourists, but the client was very happy with the results.”

Peluca has also recently filmed spots for Lumix cameras, Toyota cars and Bridgestone tyres.

Hachiko directors Maureen Hufnagel and ex-Bendercine owner Claudio Prestia, founded the company one year ago. Since then, the Hachiko has completed a global spot for Coca Cola called Border Crossing for Santo Buenos Aires and a campaign for Banco Hipotecario called Re Cancheras (Super Flashy) for Madre.

“We shot in Brasil for CocaCola with BossaNova Films servicing,” Hufnagel says.” The commercial features soldiers at a border crossing who discover the World Cup trophy in a truck and requisition it.” The Brasilian location was chosen because the director wanted a thoroughly African look. “The Jacarepagua is part Rio de Janeiro, 40 Km. from the city centre, surrounded

by amazing mountains,” Prestia says. “We then had to recreate a real border-crossing, with buildings, fences, light poles, plants and pave a 1.5 Km. road.”

The set took three weeks to build: “We had a big storm on the first day and there was some damage to the buildings,” Hufnagel says. “So we had to work day and night to get it all done in time.”

THE HISPANIC MARKET MIAMI-BASED Ed Rivero, executive producer at Cortez Brothers, finds that even though many of his clients want to shoot in South and Central America, it does not mean that they understand the places where they are going to be working.

“We were asked to film a series of spots for Nivea in Argentina, but the client was very nervous,” he says. “However, in the end we shot 96 cans of film and instead of the five spots of 15 seconds that they originally thought they were making, they ended up with 25 spots.

But to get to that point was tough and I was obliged to be pretty straight-up with some people, because there was a serious lack of respect towards the locals.”

Despite some local difficulties, Cortez Brothers had its bestever year last year. “Our thing is to always strive to be the best, and our role model is RSA, which I think best indicates where we are coming from,” Rivero says.

“But these are not easy times and everyone is going to have to adapt or go under. There is huge pressure on margins, but we all have to accept the realities of the market, and, frankly, we are still making money.”

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CHILE IN TERMS of unavoidable realities, perhaps the only thing that trumps the brutal nature of finance is nature itself. Sylvie Dube, executive producer at Moonlighting Chile, had just finished the first day of filming a complex commercial for Sleemans beer, which involved recreating seven different epochs to mark the brand’s 150th anniversary, when the earthquake struck.

“The irony is that the set stayed standing but the main studio wall fell down,” she says. “As usual here, the crew were amazing. While many people wouldn’t leave their houses, they refused to leave the job until everything was relocated and working again.”

Chile attracts a regular stream of work from Canada and the US, partly thanks to Santiago de Chile’s adaptability. “It’s easy to do US urban there, and then there are some dramatic roads just outside the city where we recently shot a spot for VW trucks using helicopters,” Dube says.

“Then further south, close to Patagonia, there is the Coyaque region with its stunning vistas and huge open spaces.”

One of the growing number of people Dube sees as an ambassador for Chile is the German director Christian Aeby.

“He is a big fan of filming here, so much so that when one of his clients expressed some misgivings about security, etc, in the aftermath of the earthquake, he insisted that it be filmed here, and so it was.

“He was so fired up for the shoot that at one point, while he was filming from the helicopter, there was no more than three metres between them, with both truck and helicopter travelling pretty fast.” I

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10.00 LBI PRESENTS: NEWFOUND POWERS: THE PRIVATISATION OF SOCIAL ENGINEERING Chris Clarke and Lorenzo Wood present LBi’s manifesto for leadership in the post-digital world

11.00 DIRECTORY PRESENTS: STUFFED, STAMPED AND LICKED Mail may not be on the bleeding edge of media, but it’s still one of the most powerful if used inventively. Directory’s Patrick Collister explains why 12.00 ABEDESIGN PRESENTS: DESIGN IN BRIC COUNTRIES Design will be central to helping the BRIC countries — Brazil, Russia, India and China — to position themselves as competitive creative economies, says Abedesign’s Luciano Deos

13.00 WGSN PRESENTS: THE TRIUMPH OF BEAUTY What will be driving the consumer landscape in 2012? WGSN reveals the emerging consumer trends that are shaping design and product development

14.00 TEXTAPPEAL & COLUMBUS PRESENT: DIGITAL ACROSS CULTURES: SUSPERGLOBAL OR HYPERLOCAL? The instant global spread of messages is one of the most exhilarating aspects of digital. But beware: what works in Toronto may cause panic in Tokyo 15.00 TRIBAL DDB PRESENTS: THE MEEK HAVE INHERITED THE EARTH Tribal DDB’s Matt Ross examines the power of social media and where it will all end 16.00 SAPIENTNITRO PRESENTS: CUSTOMERS ARE FROM MARS, BRANDS ARE FROM VENUS SapientNitro explores ways of infiltrating consumers’ lives and peer connections — and turning insights into ‘experience journeys’

17.00 MAINWARING CREATIVE AND INTERCULTURE PRESENT: THE HOW OF SOCIAL MEDIA Social media is transforming advertising. Alec Ross and Simon Mainwaring offer make-orbreak lessons in today’s most powerful instrument of change ALL SEMINARS ARE IN THE DEBUSSY UNLESS INDICATED

Mark Zuckerberg

Yoko Ono

Ben Stiller

Media A-list drawn to ‘festival of creativity’ CREATIVITY in an even wider spectrum than before is focusing the media world’s attention on Cannes this week.

About 8,000 delegates — nearly 40% more than last year — will be able to immerse themselves in more than 50 seminars featuring legendary names from the worlds of media and entertainment.

Among the stars shining in Cannes will be cutting-edge multimedia artist Yoko Ono, speaking on Friday at the annual Grey New York music seminar. Following in the footsteps of Donovan, John Legend, Tony

Bennett and Little Steven Van Zandt, she will discuss with Tim Mellors, vice-chairman and worldwide chief creative director of Grey Group, the impact of music on brands.

At the Yahoo! seminar on Tuesday, under the banner Laugh, Connect And Debate, Hollywood star Ben Stiller, advertising legend Jeff Goodby and Yahoo!’s chief marketing officer Elisa Steele will explore comedy, creativity and commerce.

Mark Zuckerberg, creator and CEO of Facebook — and now, at the age of 26, Cannes Lions Media Person Of The Year —

takes the seminar stage on Wednesday to reveal the impact that his social-networking phenomenon has had on advertisers and consumers worldwide.

Keith Weed, newly installed chief marketing and communications officer at Unilever, will pick up the company’s award as Advertiser Of The Year and take part in The Cannes Debate on Friday. He will be probed

by Sir Martin Sorrell, CEO of WPP Worldwide, on global marketing and specifically advertising and marketing priorities >>> TURN TO PAGE 5

Film Craft joins awards line-up FIFTY-seven years after its inception, the Cannes Lions International Advertising Festival is acknowledging the importance of the craft of filmmaking with the launch of a new competition category.

The inaugural Film Craft award will honour and recognise the skills required for creating commercials for today’s myriad audiovisual media platforms.

While the established Film Lions competition has celebrated

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TODAY’S SEMINAR PROGRAMME 09.00 GOOGLE PRESENTS: THE BEAUTIFUL AD GAME How can YouTube,TV and mobile co-exist in a world where boundaries are blurring and convergence is king? Google’s Henrique de Castro peers into the future of display

12.00FACEBOOK PRESENTS: AN AUDIENCE WITH MARK ZUCKERBERG Facebook’s founder and CEO talks about his company’s astounding impact on consumers and advertisers

15.00R/GA PRESENTS: REIMAGINE. REDESIGN. REARCHITECT If you were to build an agency from scratch it today’s unforgiving market, how would you do it? R/GA’s Nick Law and Barry Wacksman share ideas 16.00LEO BURNETT PRESENTS: WILDFIRE: THE HERE & NOW/SPONTANEITY IN MODERN MARKETING Today’s world is unpredictable and unplanned.But how do brands embrace spontaneity? Find out from Leo Burnett’s panel of experts 17.00CHEIL WORLDWIDE & THE BARBARIAN GROUP PRESENT: MAJORITY REPORT: WHEN THE TECHNOLOGY OF OUR DREAMS GOES MAINSTREAM An exploration of the technologies that are going mainstream in two tech capitals — NewYork and Seoul ALL SEMINARS ARE IN THE DEBUSSY UNLESS INDICATED

@radical.media’s Jon Kamen

Paul Lavoie

Tony Hertz

FOR THE first time in the Radio Lions’ six-year history, the jury has decided not to award a Grand Prix — but only because of the rule barring work for charities from receiving the top prize.

Jury president Paul Lavoie, CEO of Taxi, explained: “At the end of the day, we couldn’t find that one campaign that took radio to the next level, that really demonstrated something fresh.”

The campaign from Leo Burnett Colombia for the Red Cross would have qualified, had it not been in the charity sector. “It was a wonderful demonstration of what radio can do. It

had very small production values but was very participatory.”

The jury awarded 54 Lions — the second-highest tally in the history of the Radio contest — and Lavoie stressed that the quality of the entries winning Gold was very high.

He praised one Silver Lion winner, the spot for Israel’s National Aids Awareness Day, for which Shalmor Avnon Amichay/Y&R Interactive devised a song, Sdia. The song became a hit even though nobody could understand its oneword text — until it was revealed it was AIDS spelled

backwards. The Gold-winning campaign from Euro RSCG Worldwide for Heineken’s Dos Equis beer was another jury favourite. “Great writing, great casting, simple production values,” Lavoie said. He also praised another Silver winner, Y&R New York’s campaign for Craftsman Tools.

But Lavoie felt the UK’s efforts were surprisingly poor. Tony Hertz, juror and owner and creative director of Hertz:Radio London, said there were only 42 entries from the UK — fewer than those from Belgium, Norway, Australia, South Africa and the US. “It seems that the UK agencies are not putting a huge amount of creative energy into radio,” Hertz said. “There is only one winner from the UK, and that was done not by an agency but a radio station.”Lavoie stressed that radio, often overshadowed by digital media, still offers unique affordability. “You can do great radio production anywhere in the world. You can’t hide radio — it is all craft and writing.” I

Canon snaps Media Grand Prix A CAMPAIGN from Leo Burnett Sydney for Canon’s EOS camera has won the Media Grand Prix. EOS Photochains uses a digital version of the chain letter to encourage users of the camera to view photos online and then use one detail from a picture as inspiration for their own shot. This, in turn, leads other photographers to do the same. “It started from a simple human insight,” said jury president Laura Desmond, CEO of Starcom MediaVest Group. >>> TURN TO PAGE 10

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Laura Desmond

Media juror Matt Seiler

>>> TURN TO PAGE 5

TODAY’S SEMINAR PROGRAMME 10.00 GOVIRAL PRESENTS: FROM HOLLYWOOD TO MADISON AVENUE GoViral’s Jimmy Maymann and Nokia’s Daniel Goodall set out the lessons agencies need to learn from Hollywood if they want to thrive in the new consumer reality

AFTER last year’s ‘reset’, both for the industry and for the Cannes Festival, 2010 promises to be another year of change. We have many new initiatives, such as our two-week Creative Leaders programme which sees students arrive in Cannes after their week in Berlin to continue their studies. The Young Marketers competition kicks off, with young clients from around the world aiming to prove that without great clients, there is no great creative work.

Our new Film Craft section has received nearly 1,200 entries; and, this year for the first time, we will be honouring the Independent Agency Of The Year, as well as the best piece of not-forprofit work with the Grand Prix For Good. But as ever,

11.00 OGILVYONE PRESENTS: CAN YOU SELL, OR ELSE? What does salesmanship look like in the digital age? To find out, OgilvyOne launched a competition on YouTube, the winner of which will be unveiled today 12.00 ELECTRONIC ARTS (EA) PRESENTS: LEAN FORWARD: GAMING IS THE NEXT BIG THING Interactive entertainment is media’s new frontier — and EA is pioneering the way. As traditional media struggles to deliver, discover what’s going on in the dynamic world of gaming 13.00JWT PRESENTS: IDEAS PEOPLE WANT TO SPEND TIME WITH JWT’s Fernando Vega Olmos, Bob Jeffrey and Guy Murphy examine three game-changing initiatives and their impact on the industry 14.00 WUNDERMAN PRESENTS: WHERE DOES INSPIRATION COME FROM? Wunderman’s David Harris wonders whether there are common themes in sources of inspiration — and, if so, whether these can be distilled into a formula for creativity 15.00 SAWA PRESENTS (ESTEREL): THE CINEMA MEDIUM: CONNECTING TECHNOLOGY, THE AUDIENCE AND THE ADVERTISER Come and be entertained, engaged and amazed at the latest in cinema advertising technology 16.00 INITIATIVE PRESENTS: UNLOCKING THE POWER OF MOBILE Eric Bader and Sue Moseley present the findings of Initiative’s new global study into the consumer’s evolving relationship with mobile technology 17.00 CAMPAIGN PRESENTS: LESSONS FROM WHEN SOHO’S MAD MEN RULED THE WORLD Campaign’s panel asks what today’s high flyers can learn from the great British admen of yesteryear

Philip Thomas, Festival CEO

we won’t see the full scale of the changes until the Festival wraps up next Saturday — because it is during the awards shows and at the many seminars and workshops that we really see the way the industry is heading.

The winners will point the way. The speakers will explore different futures.

And the delegates will take away inspiration and knowledge that will change the way they work for ever.

And as we begin the week, we can be certain of one thing at least. The world will look just a little bit different in seven days’ time.

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TODAY’S SEMINAR PROGRAMME 09.00 P&G PRESENTS: HOW DO BRAND BUILDERS ADAPT AND INNOVATE IN TODAY’S WORLD TO RETHINK WHAT BRAND BUILDING IS ALL ABOUT? P&G’s Marc Pritchard examines purposeinspired creativity

Tay Guan Hin

ANOMALY NOT SO STUPID AFTER ALL DIESEL’s campaign by Anomaly New York, which encourages consumers to “be stupid”, has taken three Grands Prix in Outdoor. Tay Guan Hin, president of the Outdoor jury and regional executive creative director of JWT Asia, said the Diesel campaign’s unconventionality had won the day. “Normally, winners at the Lions are picked for their intelligence, but this year we picked the most wilfully stupid campaign,” he said. “It’s controversial, it engages consumers and its creators took a genuine risk. It is simple, bold, fresh and lively. And perhaps most importantly, it is a brand idea that could go on for a very long time.” The other Grand Prix winner was Del Campo/Nazca Saatchi & Saatchi’s Andes Teletransporter for InBev. Soundproof booths were installed in bars and clubs in the Mendoza region of Argentina, providing background sounds for people who didn’t want their partners to know they were drinking with friends. “We loved the Teletransporter because it shows that the brand understands its customers and is also able to help them spend more time with their friends without damaging their relationship with their partner,” Tay said. The campaign attracted six million YouTube views and appeared on 800,000 blogs.

Alongside the two Grands Prix winners, the jury awarded 30 Gold, 93 Silver and 119 Bronze Lions to the 3,822 entries from 65 countries.

FESTIVAL NEWS P1-15 MEDIA WINNERS P16-20 OUTDOOR WINNERS P22-37 RADIO WINNERS P38-43 FOCUS ON ASIA P44-53 FOCUS ON ASIA PACIFIC P54,55 FOCUS ON NEW ZEALAND P57-61 SCREENINGS P62 PALAIS MAP P63

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Contact Jerry or Lisa at the sales office on level 01 of the Palais des Festivals.

Tel: 04 92 59 01 91 jodlin@boutiqueeditions.com

10.00 CHINESE ADVERTISING ASSOCIATION PRESENTS: THE PEOPLE’S REPUBLIC OF INTERNET IN CHINA China has 400 million-plus internet users and that number is growing by 800,000 a week.

Potential? You bet

CLIENTS are attending the Cannes Festival in record numbers as the importance of creativity for brands becomes ever more important in the multiplatform world.

“It’s been over the last five years or so that we have seen an explosion in the number of clients at Cannes,” said Cannes Festival CEO Philip Thomas. “This year, we will see close to 400 client companies attend the Festival, which is more than ever before. They are here for the same reason as everyone else: to see the greatest work in the world, to learn and to be inspired. It’s very positive for the industry, and all the agencies I speak to are delighted that clients are engaging in the sheer numbers they are.”

Some of the biggest names in the consumer world are not only attending the Festival as observers, but are also hosting seminars and workshops to give creatives their perspective. IBM got together with EuroRSCG

ONE OF the frustrations for jurors at the Cannes Festival has traditionally been that some of the most powerful and effective ads are for charities and not-for-profit organisations — and thus not eligible for a Grand Prix.

That changes at this year’s Festival with the inauguration of the Grand Prix For Good.

From this year onwards, the Cannes Festival will reward entries ineligible to win a Grand Prix in their sections because they are made for charities and public services. Each of the Gold winners in these categories across all entry sections

15.00 PRICEWATERHOUSECOOPERS PRESENTS: WHAT’S NEXT FOR MARKETING? PwC talks to Interpublic Group and Johnson & Johnson about the seismic shifts in marketing as a result of recent economic and technological upheavals 14.00 DENTSU PRESENTS: ASIAN DIVERSITY: TOKYO INNOVATION Three speakers from the cutting-edge explain why Tokyo has become a breeding ground for new technology, gadgets, anime, fashion, music and games 17.15 Y&R PRESENTS: MUSIC IS DEAD… LONG LIVE MUSIC Music pioneer Thomas Dolby, music critic Sasha Frere-Jones and Grammy-awardwinning producer and songwriter Trevor Horn explore why we should be taking an optimistic view of music’s future 18.30 UNIQLO PRESENTS: FROM TOKYO TO THE WORLD Uniqlo’s Kentaro Katsube disusses his brand’s creative credentials with tha ltd’s Yugo Nakamura and Projector’s Koichiro Tanaka ALL SEMINARS ARE IN THE DEBUSSY UNLESS INDICATED

He said the campaign “captured the pure essence of the brand” and added: “The best press work elicits not only emotion, but also participation ... it gets read.

It invited you into the communication with skillful art direction and spoke volumes of the brand.” Tutssel said that the jury was very impressed with the 389 shortlisted entries from the total of 4,819. In addition to the Grand Prix, there were 10 gold Press Lions, 21 Silver and 39 Bronze. The calibre of the winners demonstrated that 2010

“was the renaissance year for print”, Tutssel added.

Commenting on the relatively few successes from China, jury member Dong Lijin, vice-president of Meikao in Beijing, said: “We need to learn a lot from advertising around the world.”

Fellow juror Kondiparthi Venkata Sridhar, Leo Burnett Mumbai’s national creative director, said that, while the number of new agencies in India is growing, it would be a while before we could expect to see a dominant Indian presence in Cannes. I

Steff Geissbuhler

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Elsie Nanji

>>> TURN TO PAGE 4

TODAY’S SEMINAR PROGRAMME 10.00 DRAFTFCB PRESENTS: CAPTURING CONSUMER ATTENTION IN THE CRITICAL 6.5 SECONDS THAT MATTER Like it or not, accountability is now integral to the creative process. Team Draftfcb explains why

TWO GRANDS Prix have been awarded in Cyber — one to DDB Stockholm for The Fun Theory for Volkswagen Sweden; the second to Wieden + Kennedy Portland for Chalkbot for Nike Livestrong Foundation. Cyber jury president Jeff Benjamin, chief creative officer at Crispin Porter + Bogusky, said that, in the process of selecting the best work, two distinct themes had emerged. “The most impressive campaigns we saw were the ones where the >>> TURN TO PAGE 4

12.00THE CANNES DEBATE: SIR MARTIN SORRELL TALKES TO KEITH WEED WPP’s Sir Martin Sorrell and Unilever’s Keith Weed explore what global marketing companies will be looking for in terms of media, content — and budgets 13.15 GREY PRESENTS: TIM MELLORS TALKS TO YOKO ONO The fourth annual Grey Music seminar features avant-garde artist and musician Yokjo Ono, who has promised to involve the audience on one of her ‘happenings’. Arrive early — seats will be at a premium

12.00 AEGIS MEDIA PRESENTS: START IN A DIFFERENT PLACE You don’t have to start with an ad, says Aegis Media’s Macolm Hunter – many of the most successful brands of the last decade came at communications from an entirely different angle 13.00 HP PRESENTS: THE RETURN OF THE PHYSICAL The true magic of digital is not what happens virtually, but how it impacts on life.

Find out how communicators can leverage digital to create ‘real’ experiences 14.00 DIGITAS PRESENTS: CAGE FIGHTING COMES TO CANNES Is brand-funded content fun or foul? Digitas’ Mark Beeching, rapper Nick Cannon and producer Gavin Polone hit on answers in a no-holds-barred cage fight 15.00THENETWORKONE PRESENTS: THE INDEPENDENT AGENCY SHOWCASE Be inspired by award-winning work and challenging views at this centrepiece annual event 16.00 PUBLICIS & CONTAGIOUS PRESENT: THE CONTAGIOUS CONVERSATION The best brands converse with their audiences. The panel examines the power of contagious advertising 17.00 YAHOO! PRESENTS: LAUGH, CONNECT AND DEBATE WITH JEFF GOODBY AND BEN STILLER Yahoo!’s Elisa Steele talks to advertising legend Jeff Goodby and Hollywood’s powerhouse Ben Stiller about creativity, inspiration and pushing the digital boundaries

14.15 PUBLICIS GROUPE PRESENTS: MAURICE LEVY INVITES… Maurice Levy takes the floor with P&G’s Bob McDonald, Google’s Nikesh Arora and Microsoft’s Darren Huston 15.15 HERMANN VASKE PRESENTS: CREATIVE HEADS Director, author and producer Hermann Vaske premieres his movie of the winning submissions to his annual Creative Heads video contest 16.00AKQA PRESENTS (ESTEREL): FUTURE LIONS: THE NEW PRIDE OF THE FINEST INTERNATIONAL CREATIVE TALENT Meet the winners of Akqa’s 2010 Future Lions student advertising competition — and hire them before they steal your job

ALL SEMINARS ARE IN THE DEBUSSY UNLESS INDICATED

Paul Taaffe

PAUL Taaffe, global chairman and CEO of Hill & Knowlton — and this year’s PR jury chairman — was wrongly reported in Monday’s edition of Lions Daily News as having criticised advertising agencies for their showing in the PR competition. Speaking in Cannes yesterday, Taaffe Maurice Levy

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Julie Winskie

of Hill & Knowlton. He was confident, however, that more PR agencies would enter work next year. “Ad agencies have been doing this festival for 57 years, PR agencies have been doing it for two,” he said. No Bronze Lions were awarded because the field of 571 entries was too small. “I’m fairly sure that next year, if there is another 31% increase in entries, you will see >>> TURN TO PAGE 3

out eight Gold Lions, 20 Silver Lions and 26 Bronzes. So successful was Gatorade’s TV and social-media campaign, which pushed the message that you are never too old to refuel your energy, that it is being considered for a TV series and a

IGGY POP HELPS NZ WIN DIRECT NEW ZEALAND’s Special Group has won the Direct Grand Prix for its Orcon Broadband campaign. Direct jury president, Pablo Alzugaray, CEO of Shackleton, said he had known immediately that the Orcon Broadband campaign was a winner. “The idea of having Iggy Pop re-record The Passenger in real time, using a band in New Zealand chosen via online auditions with Iggy Pop in Miami, was the one of the very best uses of a celebrity I have ever seen,” he said. “It’s intelligent, experiential and response-driven. It’s also a fantastic product demo.” Alzugaray added that, with 30 jurors, this year’s Direct jury was the biggest ever in the history of the Lions. “I was nervous about how it would work,” he admitted. “But it has been a real pleasure, and we really needed that many people to go through the 1,500 entries. Direct is not like judging a 30-second TV spot. In Direct, you are judging cases rather than pieces, so you have to understand the context and that takes time.” Alongside the Grand Prix, the jury awarded 19 Gold Lions and a total of 55 Silver and Bronze Lions.

Eric Fremont

Hollywood movie. “The concept was one you got straight away,” said jury president Tina Manikas, Draftfcb’s global retail and promotions officer. “It demonstrated that the calibre of the entries had to be very >>> TURN TO PAGE 3 high.”Jury

Pablo Alzugaray

FESTIVAL NEWS P1-13 DESIGN SHORTLIST P14,15 CYBER SHORTLIST P17-21 PR WINNERS P23-29 DIRECT WINNERS P30-39 PROMO & ACTIVATION WINNERS P40-44 PROMO & ACTIVATION: INDUSTRY VIEW P46-51 FOCUS ON THE NETHERLANDS P52,53 SCREENINGS P56

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Keith Weed: “We’ve always been innovators”

port the new smile-activated augmented reality vending machine. The company and its digital agency, SapientNitro, have installed the prototype of the new apparatus inside the Palais.

Delegates who smile into a camera inside the machine trigger a mechanism that gives out free

THERE is a message in the panel of speakers Maurice Levy, chairman and CEO of Publicis Groupe, has assembled in Cannes.

“The advertisers, such as Procter & Gamble and Unilever, the platforms — Google, Microsoft — and the advertising agencies are partners, and we are all in the same boat,” he said.

“Our aim is to build brands and sell products. I don’t believe there is any kind of issue or threat in sharing objectives, working together hand in hand.”

The message is reflected in his panel: Bob McDonald, of P&G; Nikesh Arora, of Google, and Darren Huston, of Microsoft.

Levy rejects the view that the low-cost base and interactive potential of digital platforms are a threat to creative standards.

Unilever-branded ice-cream.

They can then share the resulting photo with family and friends on Facebook. “We’ve something that works. In return for a smile, you are rewarded with an icecream,” he explained. “We’ve gone beyond the simple internet model. You need to engage with the consumer to develop a relationship with them.” Another groundbreaking digital platform that Unilever is committed to is mobile technology which delivers retail vouchers.

“Mobile will be used in a much bigger way than has ever been done.” Weed’s vision for Unilever will be in the spotlight when he is interviewed today by Sir Martin Sorrell, CEO of global advertising agency group WPP, at this year’s Cannes Debate. I

“I believe it is highly beneficial for the advertisers we are working to serve, to work very closely with the platforms,” Levy said.

“Agencies should not be afraid to work so closely with platforms. The cost of digital media is clearly lower than the cost of analogue. But the creative work of digital is very rich, and it is for the agencies and groups like ours to develop integrated communications and more holistic values. I don’t see any loss in values — quite the opposite.”

He is particularly interested to be in Cannes amid “signs of recovery”. “This event is always interesting. We come across some work which is fantastic, refreshing and new. When I see some of the formidable ideas, it makes my day.” I

IT’S BEEN A GOOD YEAR FOR FILM FESTIVAL delegates are in for a treat on Saturday when the Film showreel is screened, according to jury president Mark Tutssel.

“It has been a remarkable year for film,” said the chief creative officer of Leo Burnett Worldwide. “The quality, depth and breadth of the work is quite outstanding. The filmmaking and storytelling is at an alltime high.” The showreel will feature “moving pictures that move people”, he added.

“Obviously there is a huge body of work in internet films, but there is interesting and breathtaking work on screens of all shapes and sizes. And the big, iconic brands are producing big ideas, and that is always a joy.” Rather than presenting a problem, the emergence of new platforms was a bonus, Tutssel said. “The abundance of screens has reignited our love affair with film.”

Mark Tutssel: “Moving pictures that move people”

FESTIVAL NEWS P1-13 FILM SHORTLIST P14-27 TITANIUM AND INTEGRATED SHORTLIST P29 FILM CRAFT SHORTLIST P31 FOCUS ON SOUTH AMERICA P34-43 FOCUS ON BRAZIL P45 FOCUS ON ARGENTINA P46,47 FOCUS ON SOUTHERN EUROPE P48-55 FOCUS ON GERMANY P56-57 FEATURE: 3D

YOUR NEWS Contact Julian Newby, the editor, at the Lions Daily News office in the editorial suite on level 01 of the Palais des Festivals to make an appointment.

Tel: 04 92 59 01 89

James Daniels

INSIDE

There’s nothing to fear from working together, Levy says

PR INDUSTRY NEEDS TO STEP UP

who were making a statement that they felt comfortable in PR,” he said. And the jury showed disapproval by awarding no Lions in many of the key categories, because “the quality was not sufficient”.

“Like the World Cup, the small countries have given the large countries a run for their money when it comes to creativity and good scoring,” added Taaffe, who is global chairman and CEO

Second Grand Prix for Gatorade

REPLAY, the campaign for energy drink Gatorade by USbased TWBA\Chiat\Day and Paragon Marketing Group, walked off with the relaunched Promo & Activation Grand Prix.

The choice was unanimous among the juries, who also gave

Weed puts Unilever’s weight behind hi-tech

17.15 BRIDGE WORLDWIDE PRESENTS: THE BURNING QUESTION: ASK IT AND TRANSFORM What do we need to do to spark change? UCLA’s Jim Stengel, Bridge’s Bob Gilbreath, AT&T’s Esther Lee and Kraft’s Lisa Mann look for the questions we should be asking

>>> TURN TO PAGE 4

Tom Beckman

ALL SEMINARS ARE IN THE DEBUSSY UNLESS INDICATED

Terry Savage, Festival chairman

16.15 NAKED COMMUNICATIONS PRESENTS: NAKED CONVERSATION: 10X10X10 Naked’s Jon Wilkins and a panel of industry heavyweights share insights, pose thought-provoking questions and attempt to second-guess the future

FESTIVAL NEWS P1-14 PRESS WINNERS P17-33 CYBER WINNERS P35-47 DESIGN WINNERS P49-55 FOCUS ON SOUTH AFRICA P56-67 FOCUS ON UNITED ARAB EMIRATES P70-73 FOCUS ON NORTH AMERICA P74-79 FOCUS ON US HISPANIC P80-82 FOCUS ON CANADA P83-85 SCREENINGS P86 PALAIS MAP P87

Paul Taaffe

THE PR jury decided to deliver “a kick up the bum” to PR agencies by awarding a meagre 12 Gold and 31 Silver Lions, jury president Paul Taaffe said yesterday. Announcing that TBWA\ Chiat\Day of the US had bagged the Grand Prix with its Replay strategy for Gatorade, Taaffe said he was speaking for the entire jury in sending a rebuff to agencies. “The majority of entries were from ad agencies

Tina Manikas

KEITH WEED’s presence at this year’s Cannes Lions Festival not only confirms the growing importance of clients to the festival but also their willingness to be first adopters of new technology. Unilever’s chief marketing & communications officer is in Cannes to pick up the company’s Advertiser Of The Year Award. “I think Advertiser Of The Year is great recognition of all the work done by Unilever’s marketers and ad agencies around the world,” he said.

“This is because we’ve always been leaders and innovators in advertising. We had one of the first ads on black-and-white TV. And we’re about to be one of the first to use Apple’s iAds [mobile advertising network].”

Weed has also flown in to sup-

TUESDAY, JUNE 22, 2010

Industry is urged to raise PR standards

11.00 HILL & KNOWLTON PRESENTS: CHAOS AND JOY IN CANNES Improv Everywhere’s Charlie Todd gives a masterclass in how to cause extraordinary pranks in ordinary places

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11.00 MDC PARTNERS PRESENTS: HOW TO BUILD AN AGENCY FROM SCRATCH Ad legends Chuck Porter and David Droga explain how to start a successful agency — and become rich, famous and feted in Cannes

Design prize for Happiness HAPPINESS Brussels has won the Design Lions Grand Prix for its iQ Font for Toyota.

“It is the essence of true design in all ways,” said jury president Steff Geissbuhler, a partner with C&G Partners in the US. He added: “It is a typograph, it relies on technology, and it is very sophisticated and innovative.”

Happiness Brussels aimed to communicate the agility and control of Toyota’s new iQ to a target audience of 18- to 35year-olds. In doing so, Toyota’s iQ became the first car in the

Bob Greenberg

will be judged by the Titanium & Integrated Jury, under the presidency of Bob Greenberg, president, chairman, CEO and global chief creative officer of R/GA. That jury will choose one piece to receive the Cannes Lions Grand Prix For Good, which will be presented during the awards ceremony on Saturday. The same ceremony will see the first presentation of another key award — that for Independent Agency Of The Year. The winner will be the independent agency that has amassed the most points across all entry sections. I

10.00 ORGANIC PRESENTS: BREAKING THE CYCLE A look at how Kimberly-Clark’s breakthrough digital marketing efforts in feminine-care products are engaging, enlightening and empowering young women

Jeff Benjamin

THE 2010 PRESS Grand Prix winner is AlmapBBDO São Paulo, Brazil, for the Billboard Magazine campaign ‘Bono’, ‘Eminem’, ‘Amy’, ‘Britney’, and ‘Marilyn’.

The company’s COO Marcello Serpa collected the award last night. Jury president Mark Tutssel, Leo Burnett Worldwide’s chief creative officer, said: “The Grand Prix winner is a textbook case for beautiful print – exquisitely crafted work that grabs you by the eyeballs, stops you dead in your tracks and rewards you with thought-provoking content.”

20. Kraft’s Festival team would pass on lessons learned to colleagues, she added: “Even those who can’t come get to hear about what is a remarkable source of inspiration.”

Keith Weed, chief marketing and communications officer at Unilever — the Advertiser Of The Year — said close clientcreative ties nurture “the trust required to foster the genuine strategic thinking, creativity and innovativeness that delivers both long-term brand equity and outstanding work”. I

TODAY’S SEMINAR PROGRAMME

US & SWEDEN SHARE CYBER HONOURS

14.00ADOBE PRESENTS: EVERYTHING IS ADVERTISING Catch up with the latest technology and media concepts that are connecting consumers to brands

Keith Weed

4D yesterday to examine social media’s market impact.

Electronic Arts, Coca-Cola, Kraft Foods, Procter & Gamble, Hewlett Packard, McDonald’s and Smirnoff are also hosting events at which they will explore how media fragmentation and digital interactivity have affected their market view.

Kraft’s senior vice-president of marketing strategy and communications, Dana Anderson pointed out that, in three years, the company’s Cannes delegation had grown from five to

THE 2010 Cannes Festival has seen a very solid bounce back. Entries have grown 7% and delegates are in excess of 35% ahead of last year.

Notwithstanding the economic difficulties, this should not entirely surprise us. The currency of creativity at all levels of our business has never been stronger, more relevant or more important — and where else can you get such an immersion of creative thinking and inspiration than at the Cannes Festival?

It should not be forgotten that there are 600 journalists in Cannes this week, reporting to their markets back home, who sit anxiously awaiting the results. The agencies await the results, the clients await the results and, increasingly, the general public is aware of the results. It is a serious business and it is good to see that the seminars, of which there are over 50, and the workshops, of which there are over 25, are increasingly well attended.

After all, it may be the south of France and there may be parties but, above all, the Cannes Festival is about business. And that means learning, inspiration and a focus on improving what we all do must be paramount this week.

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FESTIVAL NEWS P1-12 PR SHORTLIST P13,14 PRESS SHORTLIST P15-22 OUTDOOR SHORTLIST P24-30 MEDIA SHORTLIST P31-34 RADIO SHORTLIST P35-37 DIRECT SHORTLIST P39-41 PROMO & ACTIVATION SHORTLIST P42-44 FOCUS ON THE UK P45 PALAIS MAP P47 SCREENINGS P48

THURSDAY, JUNE 24, 2010

12.00 SAATCHI & SAATCHI PRESENTS (GRAND AUDITORIUM): NEW DIRECTORS’ SHOWCASE The unmissable Saatchi & Saatchi showcase.

Start queuing now

Dana Anderson

‘CURRENCY OF CREATIVITY’ STILL STRONG

Good idea for great charity work

Press winner ‘grabs you by the eyeballs’

11.00 DDB PRESENTS: WELCOME TO THE NEW WORLD Hollywood tech visionary Kent Demaine reveals how mixed reality and in-context marketing can redefine the brand experience

MONDAY, JUNE 21ST 2010

Festival at the interface of clients and creativity

INSIDE

FESTIVAL NEWS P1 -5 FOCUS ON BELGIUM P7, 9 SCREENINGS P16

WEDNESDAY, JUNE 23, 2010

11.00KRAFT FOODS PRESENTS: A CONVERSATION WITH SPIKE JONZE Director,producer and creative powerhouse Spike Jonze explains how to engage consumers by expanding the definition of creative content

13.00COCA-COLA PRESENTS: SCALE MEETS STORYTELLING JosephTripodi describes how Coca-Cola mixes art,science and heart to forge emotional connections that cross countries and cultures 14.00MICROSOFT PRESENTS: UNDERDOGS, OVERDOGS AND THE GAMES MARKETER PLAY Mich Mathews considers the split-personality world of old and new — and how Microsoft is redefining the way in which consumers experience ads

the endless evolutions in brand creativity, the new Film Craft category will emphasise the dexterity behind film production, directing, cinematography, editing, music, copywriting, sound design, special effects and animation in commercials.

“This new category is going to define something new for future generations of filmmakers to measure themselves by,” says Jon Kamen, president and CEO

No Radio Grand Prix but praise for sound quality

10.00MOFILM PRESENTS: FROM VIDEO CONTESTS TO AVATAR: HARNESSING THE POWER OF CREATIVITY Oscar-winning producerJon Landau (Avatar; Titanic) joins top CMOs to discuss how video contests can stretch brand messages without compromising creativity

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CANNES CHANGE

TODAY’S SEMINAR PROGRAMME

CELEBRATE Celebrate with the world’s best in the Winners Edition of the Lions News.

Contact Jerry Odlin at the sales office on level 01 of the Palais des Festivals.

Tel: 04 92 59 01 91 jodlin@boutiqueeditions.com

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BRAZIL

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Brazil’ s olden gprospects RELATIVELY UNSCATHED BY RECESSION AND WITH TWO GLOBAL SPORTS EVENTS TO HOST, BRAZIL HAS REASON TO BE OPTIMISTIC IN CANNES, SAYS MARILI RIBEIRO, OF O ESTADO DE S PAULO IF BRAZIL was in the spotlight at Cannes last year — President Luiz Inácio Lula da Silva had implemented policies to promote the rise of poorer people, thus bringing new consumers to the market — this year the country is destined to draw even more attention, thanks to the good performance of its economy in 2009.

While most countries have been affected drastically by the international economic crisis, the Brazilian market has suffered less, and its advertising industry went through the financial storm almost unscathed.

The advertising which the Festival is judging this year in Cannes is the result of what the agencies were able to execute in this period of strong business retraction. In other words, smaller budgets and fewer examples of innovation and creative daring in addition to less advertising that directly depends on increased investment from advertisers, usually considered a means of fostering innovation. Therefore, Brazil can gain prominence in this year’s Festival because it did not lose revenues last year at the same rate as other countries. And that applies not only to Brazil.

Emerging countries such as India and China, which also suffered less from the global crisis, will also have more opportunities to shine.

A year that began dramatically, 2009 stunned the Brazil-

ian advertising industry. With investments of about $18bn spread among different media platforms, the segment grew almost 4% over the previous year. That performance looks even better when compared to the results of the largest markets in the sector — the US, UK, Germany and Japan, which suffered losses of up to

20% last year. This year, according to surveys, the growth in revenues is of 12-15% should be experienced by the Brazilian industry. This year’s first quarter figures show a 25% increase in revenues compared with the same period last year.

However, even without its relatively smooth progress through recession, Brazil has

“THE WHOLE WORLD IS WATCHING CHINA AND BRAZIL IN THE FOREGROUND, AND THEN RUSSIA AND INDIA”

been on the radar of all large media conglomerates for some time now. In 2009, many executives from these groups visited the country and, in the last week of May, the president of WPP, Sir Martin Sorrell, announced that he plans to increase investment in Brazil. “The country has become an economically strong player from the political and social point of view,” he said.

Among the business opportunities available for marketers are national companies which are globalising themselves, such as TAM and Embraer in the aviation sector, Globex (retail), AB InBev (beverages), Petrobras (petroleum) and Vale (iron). That positive scenario is enhanced further because in the near future Brazil will host two of the largest sports events in the world — the football World Cup in 2014 and the Olympics in 2016 — with the prospect of addressing the huge crowds they will attract.

Washington Olivetto, a wellknown advertiser, has just established a partnership with the McCann Erickson network in Brazil. He was invited

by Nick Brien, president of the global network, to be guest speaker at a luncheon to be held by McCann Worldgroup at the Majestic in Cannes.

Olivetto will talk about Brazilian advertising and culture.

“This year, Latin America in general and Brazil in particular will be the centre of

attention at the advertising festival for our group,” says Luca Lindner, regional director of McCann Worldgroup for Latin America and the Caribbean, and responsible for bringing Olivetto to McCann’s network. In addition to being the chairman of the company in Brazil, Lindner is also creative vice-president for Latin America. “Europe is depressed by the crisis that has worsened with the difficulties in Greece. The US is recovering business very slowly.

Therefore, the whole world is watching China and Brazil in the foreground, and then Russia and India.”

Philip Thomas, president of Cannes Lions International Advertising Festival, points out: “Brazil is not an emerging country in advertising.”

For Thomas, “ Brazilian creativity is one of the strongest in the world. The country is one of the big winners of Lions, alongside the US, the UK and Germany.”

In a recent visit to the country, Thomas speculated on the possibility of holding in Brazil a Latin American festival with the Cannes Lions seal. In recent years, the company responsible for Cannes Lions began organising satellite events in European countries (Eurobest), the Middle East (Dubai Lynx) and Asia (Spikes Asia). These smaller meetings serve as a showcase to increase interest and participation in Cannes, Thomas explained.I FRIDAY, JUNE 25, 2010

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ARGENTINA

cheers!

‘Teletransporter’ by Del Campo Nazca Saatchi & Saatchi for Andes Beer

to Argentina ARGENTINEANS HAVE THEIR OWN WAY OF DEALING WITH CRISIS, ON THE FOOTBALL PITCH AND IN AN AD PITCH. AND WINNING A GRAND PRIX HELPS. AIXA ROCCA AND VALENTINA VESCOVI, OF SA JOURNALISTS, ARGENTINA, EXPLAIN

WITHOUT a doubt, 2010 is turning out to be a very special year for Argentina. On 25 May, the country marked its bicentennial with celebrations in light blue and white.

The Colón theatre, one of Buenos Aires’ cultural icons that closed in 2006 for remodelling, reopened. For the second time in history, the country won the Academy Award for Best Foreign Language Film, with Juan José Campanella’s The Secret In Their Eyes. And, as if all this wasn’t enough to lift the spirits after a year of crisis, Argentina has the World Cup to look forward to. The whole world is focused on South Africa, but for a country that holds soccer in such high esteem –especially with Maradona coaching the team — a positive outcome would improve the state of the advertising industry and probably the course FRIDAY, JUNE 25, 2010

of the country in general in the months to come.

Ad spend rose 16.67% to $2.352bn in 2009. Even though the parliamentary elections in June influenced this boost, fee increases due to inflation were the main cause. But the most positive ad investment figures are the ones recently revealed by the CACEM (the Argentine Camera of Media Agencies), which show a 39.9% rise in Q1 2010 over the same period in 2009.

Argentineans are used to dealing with crises and they have a way for getting what they want. A year ago the local leaders of the industry didn’t fear what was coming, but the opposite: they embraced the challenge. Time has proved that they were right, because even if this crisis may have slowed things — for example, if advertisers were planning on

launching three campaigns in a year, they ended up doing that over 15 months instead — the quality of the work was not significantly affected.

Proof of this is the work that has come out of Argentina in the last year, such as Outdoor Grand Prix winner ‘Teletransporter’ by Del Campo Nazca Saatchi & Saatchi for Andes Beer or ‘The Mascherano case’ from Leo Burnett for Fiat, which reaffirmed that Argentineans’ love of gossip is one of the most powerful communication sources.

Also, when facing a crisis, advertisers are usually at their most conservative attitude, so it is surprising how over the last few months there have been cases that showed not only boldness and innovation but also a revolutionary approach. Such was the case with Pepsi and Quilmes, when they

dared to defy one on the most venerable marketing principles: Thou shalt not mess with the brand name or the logo.

The first to ignore this rule was Pepsi, and its agency BBDO Argentina, with the ‘Pecsi’ campaign launched 10 months ago, which resonated across the world, gaining praise as well as adverse criticism.

With an Argentine accent, people tend to say “Pecsi” instead of Pepsi, so the campaign played with changing the second P to a C in the logo. It is the first time that the brand tried something of that sort. The impact of ‘Pecsi’ in Argentina was so great that the brand decided to reproduce it in Spain, adapting it to Spanish slang. The team was led by Carlos Pérez, president of the agency but also a creative man at heart, and chief creative directors Ramiro Rodriguez Cohen and

Rodrigo Grau.

The second campaign that dared to tamper with the logo emerged six months ago: ‘Otto’, for Quilmes Beer, was created

by Young & Rubicam Argentina. The most famous beer in the country and market leader wanted to stand out by emphasising the intrinsic values of the product: flavour and quality. Y&R went back to the brand’s origins, when 120 years ago Otto Bemberg chose Quilmes County as the site for his first factory and he named his star product after that location.

The campaign invited people to imagine what the beer would have been called if Bemberg had looked elsewhere, each of the spots changed the name of the brand to that of different counties, neighbourhoods or cities in Argentina.

For three months, billboards

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ARGENTINA

‘The Mascherano case’ from Leo Burnett for Fiat, starring a fictitious journalist Luis Dapelo, pictured here

The ‘Otto’ campaign for Quilmes beer. For three months, billboards that showed logos which read, instead of Quilmes, Núñez, Belgrano, Retiro, Olivos or Vicente Lopez — or any other place where the billboard was located

that showed logos which read, instead of Quilmes, Núñez, Belgrano, Retiro, Olivos or any other place where the billboard was located. The campaign included TV, radio and press. “The true value of a Quilmes beer doesn’t just lie on its name, but in its unmistakable flavour,” said Diego Belbussi, brand manager of Quilmes, in an interview we did for Argentine magazine G7. “All of us that work in Quilmes communication had

to trust Y&R when they told us we could temporarily change the name that has been making us proud for 120 years.

Today, taking a look at our results, we are very proud to have taken that leap of faith.”

In the realm of advertising production, between 2009 and 2010 the majority of companies worked towards strengthening their bonds with the international market. The Oscar for Campanella’s film reaffirmed the outsiders’ view of Argen-

47

tineans as passionate filmmakers. So foreign interest in Argentina has transcended low costs and the varied landscape, and is tending to focus more on the way in which our directors tell stories, their point of view and inventiveness, whether it is for a feature film or a commercial. That said, Argentina still presents diverse landscapes and, even if costs aren’t as low as they used to be, they are still very competitive and the country is con-

venient for shooting.

Another angle worth focusing on is digital, because recent research from the Internet Advertising Bureau revealed that internet ad spend rose 36% to $13m in Q1 over the same period last year. After the social network boom in Argentina, experts in digital agree that mobile marketing is probably the next discipline that will break out. There are just over 40 million mobile phones according to research company

Telecompaper. Only 30% of those are smartphones, which allow more sophisticated mobile marketing. The main problem is that telecom companies are still too concerned about bombarding their customers with ads or violating privacy, so they are reluctant to try innovative tools.

No matter how things turn out at the World Cup, this year’s communication focus in Argentina promises to be strongly on digital. I

FRIDAY, JUNE 25, 2010

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SOUTHERN EUROPE

FRIDAY, JUNE 25, 2010

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Southern Europe?

Picks up peed S SOUTHERN EUROPE’S 2009 DIP WAS IN LINE WITH THE GLOBAL TREND, BUT IN 2010 BUSINESS IS MUCH MORE ROBUST. FOR SOME IT’S THE CAR SPOTS THAT ARE BACK, FOR OTHERS IT’S NEW BUSINESS. GARY SMITH REPORTS.

General Electric’s‘Say Ahh’ commercial, shot by Academy Award-winning DP Anthony Dod Mantle

FRIDAY, JUNE 25, 2010

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PACT’s Stamatis Athanassoulas: “Greece is bathed in a unique light. There are 2,000 islands [including Santorini, pictured], that were inhabited by the Gods”

AFTER a slow start to the year, there are signs everywhere that some modicum of confidence is returning to the southern European production services sector. The number of storyboards and bids circulating is up across the region, the euro is weaker, and, perhaps most important, more confidence means the scale and ambition of projects is growing again, following a period of pragmatism and austerity.

“We have done a couple of big Stella Artois jobs recently including ‘The Race’, directed

by Dougal Wilson for Blink,” executive producer Trent Walton, of Palma Pictures, says.

“In a general sense, we were very excited to be part of the Stella advertising legacy and to be involved in a commercial that really tells a story.”

The strapline is Perfection Has Its Price and the spot features two brothers racing through the Alps on their tandem, in memory of their cyclist father, until a puncture stops them right next to a bar.

“When they go into the bar they find a photo of Papa enjoying his other passion, Stella,” Walton says. “The spot was

set in the 1930s and part of our job was to find credible, unmetalled roads and cycleable mountains that had the dry, rugged look of the Alps. ” Another challenge was to find 28 cyclists who were capable of pedalling up the mountains several times a day for three days. “We ended up using a bunch of semi-professionals because tandems are difficult to ride,” Walton says.

“Location-wise the final challenge was the village featured at the start of the race. We needed a period look and a community that was prepared to have the disruption. We finally found the right place in a mountain village called Muro.

The only problem was the asphalt roads, but after we’d sanded them they looked fine.”

Other challenging recent shoots by Palma Pictures include a McDonald’s spot featuring people by the sea popping out of the sand, which involved building a beach in the studio, and a Beck’s Beer campaign where some particularly inaccessible coves were used: “The director wanted to film there because they are stunningly beautiful, but the

only way in and out for crew and extras was by winch,” Mike Day, Palma Pictures managing director, says. “He did however, get the desert island feel that he was looking for.”

When it comes to ambition and scale returning, the sixday Hyundai shoot in central Lisbon is going to be hard to beat: “It is the biggest spot we’ve done to date for sure,” Patricia Lino, producer at Production Services Portugal (PSP), says. “We used 12 different locations to clone London, Paris, Sydney, Morocco, Brazil, Italy and Spain for Hyundai’s ‘Cha cha cha’ spot. Mother Producing of Korea and Australia’s Compass Production had initially intended to use locations in South Africa and Paris as well as Lisbon, but when they saw what we have, they decided to do it all here. Downtown can be Paris, Rome, Barcelona or Madrid, plus we have a designer district featuring modern buildings, a deserted beach 15 minutes away and the mountains of Cintra in a mere 45 minutes.”

Given the variety of locations in and around Lisbon, moving cast and crew around

MIKE DAY: “THE ONLY WAY IN AND OUT FOR CREW AND EXTRAS WAS BY WINCH” is a PSP speciality: “We’re very proud of how fast we can move the crew from one site to the next, and of the fact that we have a library with 25,000 locations and 12,000 houses available for shooting,” Lino says.

“We also pulled off something quite unusual in that we were allowed to film in Rosseo, a large square in the centre of the city, during the week, something which is normally out of the question. We created a big public spectacle using 1,200 extras for a grand football festival which also included live music and dancers.”

Southwest Production’s Staffan Tranaeus agrees with Patricia Lino that Portugal’s ability to clone other countries is underrated. “We made a film for Ericsson where we reproduced Uruguay, Cambodia, the US, Tanzania and India around Portugal,” he

says. “And we’ve recently finished a spot for Mercedes for a top secret new car, which was a real challenge because everyone has mobile phones with cameras, but we managed it by getting up a 4am and shooting at first light.”

A few years back Southwest also did a spot for an anti-landmine campaign where Portugal stood in for Afghanistan.

“Apart from extreme cases like that we are constantly shooting spots where Portugal doubles for a Swedish archipelago, a Polish village, a Dutch flower field, etc. Portugal offers an astounding variety,” Tranaeus says.

According to Tenerife Film Commission’s Concha Diaz, the vast and surreally beautiful Teide National Park remains one of the island’s most soughtafter locations: “It is great for car commercials, with black FRIDAY, JUNE 25, 2010

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The filming of Agora in Malta

roads as well as yellow and red asphalt, plus plenty of places with a lunar look. Last year we had two movies, Clash Of The Titans and Una Hora Mas En Canarias. It’s the first time that that has happened since Hollywood production 1 Million Years BC, was filmed here back in the 1960s,” Diaz says.

“We have several more films coming over the next few months, plus, we are aware that there are more and more producers coming from Eastern Europe. We’ve invited eight of them down here to see what we have to offer.”

Tenerife will also be hosting Polish and Hungarian shoots this summer: “We used to get a lot of work from Germany but that has slowed. However, our Spanish work is solid, the UK and Italy know all about us already, so it seems logical to try to open up new markets. We are also aiming to attract more US productions, we are working on getting permits turned around quickly and we offer interesting tax breaks. By establishing a company here, you pay 4% tax on profits instead of 33%, and there are no limits or hidden charges in terms of bringing

LUISA BONNELLO: “MALTA DOUBLED FOR IRAQ , USING OVER 40 DIFFERENT LOCATIONS” in or transferring money out.”

Malta also offers a range of financial incentives, with a scheme first put in place in 2007 now re-validated until the end of 2012. It takes the form of a cash rebate given on eligible EU expenditure to qualifying productions shooting in Malta. The island crews are young but increasingly experienced. “Through a combination of increased networking with the international industry and financial incentives, a real qualitative consistency is on the way to being a reality,” Luisa Bonnell, of the Malta Film Commission, says.

“Since the beginning of 2007, there has been a production either prepping or shooting for almost the entire time, barring a short period early in 2009.” The local service sector is seeing regular activity with foreign productions from the UK, US, Italy, France, Spain,

Germany, Latvia, Russia, India, Japan and Canada. “Overseas productions in 2009 included eight TV series, parts of four feature films and two commercials,” Bonnello says.

“Overall, these productions are estimated to have spent around €6.5m [$7.8m] on Maltese services, crew and goods.

A variety of locations were used, and, of course, the water tanks at the Mediterranean Film Studios continue to be popular with water-based productions, and remain a crucial part of Malta’s attraction.”

After Alejandro Amenabar's Agora shot in Delimara in 2008 — the second most expensive European film ever — 2009 productions included On Tour With The Queen, Japanese series Saka-No-Ue-No-Kumo and an Indian feature film titled Vinnai Thandi Varuvaya.

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shot on the island, and we hope that it will serve as an introduction to Bollywood’s directors,”Bonnell says In 2010 The Devil’s Double, a Belgian production directed by New Zealander Lee Tamahori (Mullholland Falls, The Edge, Die Another Day) used Malta to double for the Middle East for a film based on a book by Latif Yahia, who was the double of Uday Hussein, one of Saddam Hussein’s sons. “Malta doubled for Iraq in the nine-week shoot, using over 40 different locations around the island.”

A 14-camera shoot of U2’s stage in the round at Barcelona FC’s Nou Camp was the biggest job undertaken by Malagabased Seaquist A Company: “We filmed the DVD for Partizan and, as jobs go, it was both complex and of course very fast-moving, a very interesting challenge,” executive producer Robert Seaquist says. “And in terms of complexity we also did a spot for a Japanese client which kind of laid bare the differences in working culture between Europe and Japan. For example, when we were doing the rec-

FRIDAY, JUNE 25, 2010

LARS BRUUN: “LOCATIONS CROWNED BY FANTASTIC LUXURY VILLAS WHICH ARE AVAILABLE FOR 10 MONTHS A YEAR” cies, they felt cheated if we didn’t take the production coordinator along because, even though we would rationalise a situation and decide that he or she could be more useful dealing with other issues elsewhere, their attitude is that that person is part of the team and therefore should be involved in everything.”

A different Japanese project in December 2009, this time for the Dragon Quest videogame, involved re-creating the summer: “We had the actors in summer clothes and the crew in Arctic gear because it was really very cold, so of course everything took a little longer than we hoped, but we eventually managed to make it work.”

Seaquist hesitates when asked about his favourite locations, but comes up with a startling

reply: “I do not have a favourite location in Spain because Spain is my favourite location. There are a few other countries where you might find the same versatility, but over a much larger area. Spain is compact and offers easy access to the rest of Europe.” And when it comes to compactness, it’s hard to beat Ibiza. Known as the White Island for its stucco-ed houses, Ibiza covers only 572 square kilometres but still manages to pack in thousands of clubbers, package holidaymakers, retain swathes of open countryside and boast some of the most impressive, Hollywood Hills-style villas in Europe.

“We have ended up doing a lot of music videos for two main reasons,” Lars Bruun, executive producer at Ibiza Pictures, says. “It’s partly the fact that

lots of them visit in order to perform or DJ in the clubs, and partly because the island offers breathtaking locations crowned by some fantastic luxury villas which are empty and therefore available for an average of 10 months per year.”

But it’s not just about the villas. “Equipment-wise, we can get anything from the mainland very quickly because there are five flights per day, and in terms of locations, the island offers great light in the winter, some amazing, unspoilt coastline and crystal-clear sea, vineyards, timeless traditional rural settings, a couple of mountains and, my personal favourite, the islands of Es Vedra and Es Vedranell, which lie just off the southern tip of Ibiza,” Bruun says. “According to legend, they are either the birthplace of Hannibal, the island of the Sirens in Homer’s epic or even the tip of the sunken continent of Atlantis.”

Back on the mainland, Gordon MacKinnon, line producer at Barcelona-based Goodgate Productions, has been seeing considerably more business from the Middle East. “Generally business started to pick

up last November and has remained robust through this year, with several new clients from Saudi Arabia and Dubai,” he says. “They particularly appreciate the range of locations and the casting, which seem to work really well in their respective markets.”

There has also been a new wave of car spots, something for which Barcelona has provided myriad locations over the years. “We’ve worked on spots for VW, BMW and Honda already this year, and I get the feeling that the car business is much more confident than a year ago. We’ve done 20 shooting days on cars already in 2010,” he says. “We’ve also just produced a campaign for Pepsi and generally we are doing more and more viral work for a range of clients including Louis Vuitton, for whom we did a stills shoot with Annie Liebowitz in Madrid featuring Pele, Zinedine Zidane and Maradona.”

The most challenging job Goodgate has handled recently was a shoot at sea for Carlsberg. “The scenario was that, although they don’t catch any fish, they land a few kegs of

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beer, “ he says. “We had a Supertechno crane mounted on a boat and the first day went fine, mainly because the sea was very calm. But on day two there was a swell which made shooting very difficult. It really doesn’t take much choppiness to make life very complicated on the open sea. It got so bad that we had to cut one of the filming platforms loose to avoid a potentially serious situation with a boat, and then we finished the job using a hand-held camera.” According to Stamatis Athanassoulas, head of PACT Greece and executive producer at Top Cut, the economic crisis has resulted in the closure of three companies in the past year. “Two of those companies were quite large, so it created an upheaval in the market which affected both clients and colleagues,” he says.

Ibiza's luxury villas provide a Mediterranean alternative to the Hollywood Hills

Southwest Production’s shoot for the new top secret Mercedes

“Our major endeavour as a union has been to ensure our reliability, which has not been easy, bearing in mind the general climate in Greece these days, especially when added to the economic recession. Despite the conditions, I believe strongly in the businesses that are still working in Greece and in the investors and colleagues from foreign countries who recognise the unique and special characteristics of our country.”

For Top Cut it was, nonetheless, a good year: “We continued working with our existing clients, coming up with solutions which astounded us as much as our clients, so we really reinforced out reputation for high standards despite the fact that we were faced with ever-shrinking budgets. We

55

also saw new business coming in from the US and northern Europe.” “Difficult” is a word that Athanassoulas no longer recognises. “After 25 years in the business, the concept of difficulty per se has been deleted from our vocabulary. For us everything is doable. Difficult and challenging are the norm - in fact, our work is like a never-ending slalom of difficulties, so in a way it’s like ‘difficult’ does not exist.”

Greece’s most precious ancient sites are finally available for certain projects. “There used to be problems if you wanted to shoot on archaeological sites but since we now have a film commission office things have got much better,” he says. “But everything really depends on the role that

the site plays in a given spot and on the script.”

It usually takes about two weeks to get a permit to film in an ancient theatre or monument. “However, if you want to film an advert for a violent video game in the Acropolis or the Herodus Atticus theatre, forget it!”

Green Olive Films executive producer Simos Manganis reports a definite upward trend in Greece this year after a slow start: “It started to get busy in March and I’m happy to say that this year the UK is proving to be a new source of work,” he says. “Previously much of our foreign work was coming from Germany, Poland and Russia, but following a sales trip to London, companies who saw our reel now realise just how diverse the locations are.” Green Olive also worked on a Skip spot for the local market which was being co-ordinated by a UK production agency. “Thanks to that as well, we have lots more boards from the UK,” Manganis says.

It seems that honesty is the best policy: “When in London we admitted that the infrastructure is still developing but that we offer amazing value, plus we have the Cyprus office and, again, UK producers are starting to realise that the weather there is very stable. In fact, we have had very few weather days over the last year, even in Greece, and when they do happen, we can move the shoot to Cyprus.”Manga-

nis is expecting a revival of interest in the Olympic Stadium in the lead-up to London 2012: “Up to 2008, requests to film in the iconic stadiums were pretty constant, and when that tailed off there has been plenty of work in the more anonymous facilities,” he says. “For anyone worried about coming to shoot here after the unrest of the early spring, I would say that the problems are limited to a small part of the centre of the capital. The rest of the city and the country is calm and the crew rates are very competitive.” Mikis Modiano, of Modiano Productions, has apparently been seeing flying cows recently: “We did a spot for NoyNoy Milk, a brand that belongs to the Friesland Group, featuring a lot of flying cows,” he says. “We were not, however, obliged to make them.

They were rendered later in 3D up in Sweden.”

Another spot which is not quite what it seems was made for Greek mobile operator Cosmote. It features a rock concert in a Greek stadium and 1.000 extras. “Given the numbers we needed for the crowd, we shot those scenes in Bucharest because Romanian extras are cheaper,” Modiano says.

Italy is a location where for centuries things have not always been what they seem, and even in the comparatively straightforward world of production services things are different: “Because Italians are

very concerned with maintaining ‘la bella figura’, things might seem as up to date as they are in other western countries, but in fact it’s not true,” Karim Bartoletti, executive producer at Filmmaster, says.

“In fact, in terms of important stuff like digital communications, we are two to three years behind. And the way that the agencies do some aspects of their business with production service companies is like nowhere else. For example, when we are given a brief and asked to bid, several other companies will also be asked at the same time and we all have to put in our bids knowing that.

We also are expected to do the directorial search, which most other countries would find quite strange.”

As they say in Italy, that which does not break you makes you stronger. “We’re used to taking on the extra stuff and I guess it makes us work harder to be creative and different, which is why we make TV shows and organise events. We were very early on viral production, partly because we have never categorised what we do — we see it all as production, and have been producing web-based spots for years. It is now a rapidly growing side of our business.

We do work for Gucci, Nokia, Lovable and Birra Moretti.

We also ended up shooting a spot for toy brand Chicco with two Canon 5Ds, it’s absolutely shocking how good those cameras are.”I FRIDAY, JUNE 25, 2010

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GERMANY The leaders of Germany’s number one in the digital domain have their roots in classical music: Bernhard Lukas, Arno Lindemann and Bent Rosinskii

Germany

needs more

Punk IN TERMS of creative performance, German agencies long ago realised they were able to match foreign neighbours. With innovative media and promo ideas, unconventional ambient installations, ambitiously shot films and fascinating design ideas they have won over competition juries across the world. In just one area Germany lags: digital communication.

As agencies around the globe cope with digitalisation and technological change at unprecedented speed, it would be expected that Germany with its hi-tech tradition, would be in the lead. Yet the German interactive agencies are making heavy weather of competing with their youthful rivals.

FRIDAY, JUNE 25, 2010

Nonetheless, one German creative outfit, Scholz & Volkmer (S&V), has taken a leading role in this global contest.

In 2000, S&V took the first Cyber Grand Prix awarded at Cannes. What has happened since then to make Germany an also-ran in the field?

There are historical reasons for this disappointing performance.

Traditionally the classical agencies’ interactive back-office units have focused on the technological aspects of their work and overlooked the brandmanagement efforts of their colleagues. Only now are they realising that, while they had the know-how to take the branding online, what they lacked was the ability to de-

liver the emotionality of the client’s message. Only now are Germany’s classical agencies learning that lesson. Creative shop Jung von Matt has taken a lead role over the past year in doing so, putting a renowned online expert in a top position. Peter Figge, exchief of much-awarded interactive agency Tribal DDB in Hamburg, is to become chairman at Jung von Matt.

There are other signs of change: S&V has recruited from Y&R Germany Christian Daul, member of the Art Directors Club for Germany (ADC), as managing director. His view after the first months in his new role: “We must take a much broader view than previously, and naturally

GERMANY’S CREATIVES ARE TECHNOLOGY-CONSCIOUS BUT LACK THE EMOTIONAL DIMENSION THAT DIGITAL COMMUNICATION DEMANDS – ALTHOUGH THAT MAY BE ABOUT TO CHANGE, SAYS BAERBEL UNCKRICH OF GERMANY’S HORIZONT

the technological component will have a more prominent role. With that comes stronger interaction with consumers.

The web provides fantastically rapid feedback from consumers and we have to able to react to that.“ With Dau’s help, S&V hopes to regain a prominent position at award shows where the classic agencies have recently been eclipsed. For example, Hamburg newcomer Lukas Lindemann Rosinski (LLR) caused a furore at Cannes last year when it came away with nine Lions. Most were gained for the interactive banner ‘The Lego codes’, for Mytoys.de, with its playful use of QRCodes. It may not have been a grand integrated web cam-

paign, but it was an innovative idea, demonstrating how technological innovation can be employed in marketing communication.

“The fact that we won in the digital area was particularly pleasing and important,” says agency partner Arno Lindemann. “We are not saying that we can compete with the big agencies, just that we can think digitally.”

Other owner-led agencies are delivering similar messages — a case in point being Hamburg shop Nordpol, which has scored successes in the creative area. Another agency in the same city, Kolle Rebbe, has long ago extended its offer beyond traditional areas, and to do that is beefing up

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its digital strength. The agency has even abandoned participation in award shows this year in order to concentrate on digital expansion.

The online specialists have been focusing even more on their 360-degree offer but here, too, changes are noticeable.

“We are fostering as much as ever specialist skills,” says Michael Kutschinsky, creative chief at Ogilvy Interactive in Frankfurt. “We are working ever more closely with our colleagues in the classical area.

Hardly any briefing occurs now for which digital expertise is not sought.” An example is the Hej-Community developed for Ikea, to which all units under the Oglivy umbrella contributed.

But German online experts maintain that it is in complex presentations and integrated campaigns that shortcomings are still evident. “We are in different territory to the US or Sweden, where the user perspective is more evident in creative solutions,” says Peter Gravier, managing director of Tribal DDB in Hamburg. “We Germans get lost in trying to

perfect project control.”

Plan.Net creative chief Friedrich von Zitzewitz makes the point more crisply: “Germany needs more punk rock in its digital creativity.” What is needed, he says, is more courage in undertaking creative experiments.

The fact is that ever greater budgets are being poured into digital, and that is where the creative opportunities are. This year will prove who can capitalise on these opportunities, with the entry of Akqa into the German market adding impetus — competition, as we know, enlivens business.

San Francisco-based Akqa, a multi-award winner, since the beginning of this month has had, in addition to offices in Washington DC, New York, London, Amsterdam and Shanghai, an outpost in Berlin.

Initial clients for the new branch are Nokia and Volkswagen — the latter for many years hailed as Germany’s most creativityconscious client. It will therefore be fascinating to see what upheavals Akqa creates on the local agency scene.

CEO Tom Bedecarre sets

57

Lukas Lindemann Rosinski helped ‘Lego Codes’ to the top spot in the rankings of the most creative German digital agencies

“WE GERMANS GET LOST IN TRYING TO PERFECT PROJECT CONTROL” out ambitious aims: “The Berlin office will be active in pitching and we hope that local clients will soon become aware of us and want to work with us. We are delighted, anyway, to have a healthy and growing network.”

At present Akqa’s Berlin team is 20 strong, but there are plans for growth. That in itself is reason for Germany’s other interactive agencies to accelerate their efforts in award shows and to fly the flag internationally. Because it is well known

that the best creatives move around the globe and see award shows as an opportunity to shine.

And here is why Germany, 10 years after gaining the first Cyber Lions Grand Prix, might finally gain further success in this area. Ideally, integrated campaigns are the international benchmark of creativity. Bedecarre has signalled that he will make strenuous efforts to enable Germany to succeed in that arena. I

FRIDAY, JUNE 25, 2010

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3D

Technol has come a long FRIDAY, JUNE 25, 2010

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Telstra’s campaign for its new T-Hub product

ology way

FROM 3D, TO AUGMENTED REALITY, TO HIGHTECH, SUPER-SEXY CAMERAS, TO DOLBY 7.1 SURROUND SOUND, DIGITAL IS ROMANCING THE ADVERTISING WORLD AS NEVER BEFORE. MARLENE EDMUNDS REPORTS IN THE wake of Avatar and its $3bn worldwide box office, and Alice In Wonderland and its $1bn box office so far, the race is on to bring the full potential of 3D out of the creative closet and to take it seriously as a marketing medium.

3D cinema advertising already is looking at considerable success; manufacturers are scrambling to get 3D TVs onto the market; the World Cup is right now being broadcast in 3D; Times Square lit up its first 3D outdoor display in March of this year.

The Screen Advertising World Association (SAWA) as early as 2005 commissioned Bug Norway to produce the world’s first 3D Cinema ad for Mitsubishi and showcased it at the SAWA Seminar in Cannes that year. “Since then 3D films have moved at an unbelievable speed and radically changed the cinema viewing experience,” says SAWA general manager Cheryl Wannell. “With digital technology, cinema as an advertising medium can keep pace with the movie industry. There are many major advertisers using 3D advertising in the cinema right now.”

The SAWA seminar titled The Cinema Medium – Connecting Technology, The Audience And The Advertiser, will be screening cutting edge 3D ads from around the world, as well as new conversions from 2D to 3D, with a panel of digital experts weighing in. SAWA will also be giving a sneak audio preview of the new Dolby Surround 7.1. That audio format is being launched in select theatres in the US with the release of Toy Story 3 in 3D this month.

SAWA is hoping to screen a 3D cinema ad from Australian telecommunications giant Telstra’s fully integrated campaign

for its new T-Hub product.

Amanda Johnston-Pell, Telstra executive director, brands and marketing communications, says the T-Hub campaign was “a natural for 3D,” adding: “Telstra has re-invented the home phone with T-Hub, and 3D technology will reinvent the future of broadcast entertainment – they are an obvious pairing to demonstrate the future of technology.” The campaign includes lead character and telephone inventor Alexander Graham Bell offering his opinions on how things have changed over the last 134 years when it comes to telephones.

Dr Micheal Kronenberg, founder and CEO of Brazilbased 3D Impact Media, will also be screening some of the 3D cinema ads produced by production division Skycube.

Kronenberg says that the eyes are naturally 3D enabled, so 3D technology allows audiences to see images as they are seen in real life, a point of more than a little significance when it comes to connecting to audiences. Among the 3D ads Kronenberg is expected to screen are the Hollywood Multiplex 3D video and an ad for telecom company Ancel in Uruguay.

3D advertising is clearly in its early stages across the board, and to some degree experimental, but Australian digital cinema advertising outfit CINEads is not complaining.

Wes Stansfield, general manager of CINEads, says that some 40% of the company’s revenue this year will come from 3D ads.

“One of the features of our 3D ads is that we utilise a lot of ‘front of screen’ 3D effects, and with most movies 3D is mainly utilising the rear of screen. This means our ads jump out and interact with FRIDAY, JUNE 25, 2010

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3D

the audience.” The software for the high-resolution 3D cinema was written by Steve Quartly, Digipix managing director.

“The feedback our clients have had from their campaigns has been amazing,” Stansfield says. CINEads launched 3D advertisements with Avatar, and 100% of the clients that entered into an initial campaign have renewed.

Bug Norway’s managing director Dave Spilde is predict-

else will be.” The first 3D project from Toronto’s Geneva Film was produced five years ago for Toyota. The company recently launched a Sprint Mobile PSA promoting courtesy, into 3D cinemas, and has plans for additional global brand launches in the next few months.

Stewart was among those on Monday’s SAWA panel titled The Cinema Medium – Connecting Technology, The Audience And The Advertiser. He also hosted Tuesday’s work-

Heathrow Airport,” adding: “The technology works, but outdoor requires large billboard advertising, and billboard advertising is very regulated. So for now, 3D outdoor exists around monitors in public places.” Jim Chabin, president of the International 3D Society, calls the creative potential for 3D enormous. “It will present an amazing new canvas for advertising creatives to paint on,” he says. “With Sky TVs 3D channel up, and

is palpable in the market place.

It’s a transformative technology, and anything with a screen is likely to be 3D-enabled to showcase its messages.”

Partner and editor at New York- and LA-based Union Editorial, Jim Haygood, was editor on Samsung’s ‘Wonder-full’, the first live-action 3D commercial to promote Samsung’s state-of-the art 3D LED TV. The spot was produced for Leo Burnett with production outfit Rabbit. Haygood, who is

sand.” There are obvious questions about the future of 3D TV advertising. “3D will only takeoff when there is great content and it is easier to watch without wearing the 3D glasses,” says Carl Jones, executive creative director of Grey Canada.

The fact that the World Cup is being broadcast in 3D is a groundbreaking first, but Jones says: “Watching the World Cup in a bar in 3D won’t work unless you have the $150 3D glasses on, so it will limit who will see

shop titled Are You Ready For The 3D Revolution? aimed at dispelling some of the myths about 3D cinema, gaming, mobile apps, and television platforms, he says. “3D is happening at warp speed,” Stewart adds.

“Six months ago, 3DTV was two-to-three years away, and now it’s here. 3D cinema screens are rolling out rapidly, there are over 400 3D games on the market, iPhone and iPad have 3D options, and 3D TVs are on sale worldwide.”

Nevertheless, there are huge challenges on the 3D front, outdoor being among them.

“People driving are not going to be wearing 3D glasses so eventually we need to further develop auto-stereo screens — screens that do not require 3D glasses.” He points to digital signage TVs in New York’s Times Square and at London’s

Discovery’s 3Dnet 3D channel launching next January in the US, along with announced plans by Direct TV, ESPN, and others, advertisers are already learning how to effectively use 3D for their media, especially TV.” As the public continues to acquire 3DTV flat screens worldwide, and handheld phones and laptops become 3D-ready, he says, “The excitement for this magical new way to demonstrate products

currently working on Walt Disney Pictures 3D film Tron Legacy says the “Avatar effect” has made 3D “the real deal”. He adds: “The demand will only increase as more people upgrade their sets and as more content is made in 3D.” But while integrated campaigns across the platform spectrum are increasingly in demand, “Ultimately it’s all still storytelling — whether you produce something in 3D or you draw with a stick in the

the game.” 3D TV will take off, he says, “only when you can look at the screen and not wear the glasses. This will allow people to see soccer and other sports in 3D in bars, home parties, or in a large group environment. Watching sports is a shared experience and shouldn’t be limited just to people wearing expensive glasses.” Cost is also a hurdle, he adds: “The cost of creating a commercial in 3D is approx 40% more expensive, so you had better have a pretty good reason to be using 3D.” Singapore announced a world first, nationwide 3D broadcast trial to begin this year. The city-state began committing bundles of money and resources to putting 3D ahead of the game several years ago.

It hosted 3DX, the first 3D film festival in 2008, then through its media support arm

Sprint Mobile’s PSA promoting courtesy, for 3D cinemas

ing a major upsurge in demand by advertisers for 3D work when Norway’s screens become 100% digitised next year. Recent projects include The Pepsi Max Sound Check, a 2D repurposed to 3D for DDB Norway, and screened on all 3D screens in Norway at the December premiere of Avatar. 3D cinema advertising will take off when creatives take it seriously, says Spilde, adding, “We’re waiting for the creatives to transform 3D cinema ads from the mere gimmicky to something that tells a real story.”

James Stewart, president, director, producer and founder of Geneva Film Co. seconds that observation. “There is no more doubt about 3D. It’s happening, and the ad industry needs to open its eyes, and do it fast. If you are not pitching 3D to your clients, someone FRIDAY, JUNE 25, 2010

JIM HAYGOOD: “IT’S ALL STILL STORYTELLING — WHETHER YOU PRODUCE SOMETHING IN 3D OR YOU DRAW WITH A STICK IN THE SAND”

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3D

Bandito Brothers’ BMW M3 ‘Living In the Llghts’ video: ”A labour of love”

the Media Development Authority (MDA) began a major move to encourage the industry to upgrade its equipment and skill levels to prepare for the advent of 3D into the mainstream. Among the beneficiaries was post-production outfit BlackMagic Design, which upgraded its equipment to state of the art 3D with financial support from the MDA. Yeo Chun Cheng, chief information officer and director of broadcast and media for the MDA, says: “We are planning to support 3D TV content and with that will come advertising, not just for TV but for outdoor as well. Some of our companies have already begun to screen 3D ads in shopping malls and outdoors.”

Freddie Yeo, general manager of Singapore post production house Infinite Frameworks, says the key driver at the end of the day will be the ability of the broadcasters to broadcast in 3D as well as the availability of 3D television sets to households. He adds: “The Singapore 3D trial has just been announced so there won’t be 3D advertisement any time soon.” Yeo says that 3D may contribute a “wow” factor in advertisements, but, “the real challenge is to make sure that 3D does not just become a novelty or executed for the sake of simply executing it.”

Singapore-based Sparky AniFRIDAY, JUNE 25, 2010

MOUSE MCCOY: “WE CAN DRAW THE AUDIENCE INTO THE ACTION LIKE NEVER BEFORE” mation has been involved in a number of high-profile CGI projects with, among other clients, the Jim Henson Company, but CEO KC Wong anticipates at least 10% of his business in future coming from the commercial advertising sector. “There is likely to be a demand for high-quality CGI 3D work in special effects and animation for good, prestigious commercials. We might pursue these as an opportunity to push the quality of our work to a higher level, not forgetting, of course, the big overall budgets that come with them.” The near complete lack of content initially is going to be replaced by a frustrating period when there is just “some” content, predicts Benjamin Palmer, CEO of New Yorkbased digital outfit The Barbarian Group. “For example, if you’re Bud and you’re running ads on non-3D sports channels and on 3D sports channels, you’d probably have to make 2D and 3D versions of your ads to accommodate dif-

ferent media buys. The 3D version would likely feature some multi-dimensional gag that wouldn’t work in 2D so one of the ads wouldn’t translate.”Industry analysts predict that some 30% of the workforce in the future will be using some form of augmented reality (AR) over the next decade, but The Barbarian Group’s Palmer thinks we are already on the way. The Barbarian Group was responsible for one of the more edgy AR experiments with Esquire magazine. If we think of AR as about your digital devices augmenting current experience, that’s pretty much where mobile computing is going.”

Palmer adds: “What we think of as AR right now is more of a technology demo than anything else, so within the field of AR, the next decade is going to be fascinating.” But digital developments that have led to so many people enjoying a handheld computer that’s always on, have led to consumers expecting — and understanding — always-on brand expe-

riences. And this creates problems for traditional advertising approaches, Palmer says.

“It will become increasingly important to understand the exact situation your audience is in when you interact with them. Are they home? Out with friends? Driving? Shopping? Is it an active or passive experience? Whatever you are doing, there is a digital experience that will go along with it, and marketing needs to catch up.”

Palmer along with Kate Hyewon Oh, creative director of Cheil Worldwide, spoke at Wednesday’s seminar given

by Cheil Worldwide and The Barbarian Group titled Majority Report: When The Technology Of Our Dreams Goes Mainstream. “The seminar was about 3D and AR and other emerging technologies, and the behaviours that go along with it,” Palmer says.

He adds: “Remember how things in Star Trek or Minority Report seemed so far away, but now within our lifetime we’ve not only arrived at the future, the pace at which some technology is developing is faster than we’d expected.”

Grey Canada’s Jones is a fan of AR as well. “We feel it has a lot of future,” he says, adding, “Using AR to experience a virtual driving test for a car, for example, is a good use of this tool. The only limit is the imag-

ination of the creatives.” But he shares concerns of the industry about new tools and technology coming onto the market. “You have to use the technology well and not just use the technology because it is something new,” Jones says.

Digital technology is significantly changing how directors and creatives from all corners of the industry think about how they work. “Digital has had a huge impact on the way we approach projects,” says Taxi Films executive producer Richard Goldberg. “In this economy, and with clients seeking to uncover efficiencies, we’ve had to become more resourceful, yet still maintain creative integrity — and shooting on high-resolution video is one of the ways we can accomplish both.” He adds: “While I still believe in the ‘magic’ of shooting on film, a digital execution can be quite impressive — for the right projects, and with the right DP. Some of my production teams have had great experiences shooting on the Canon 5D and it was absolutely the right choice — both creatively and for the client’s bottom line.”

The Canon 5D series has changed everything, says director/cinematographer Shane Hurlbut of LA-based Bandito Brothers. “I stand back and I am not the cinematographer that I was 15 months ago. I feel like I have gone back to school with a completely new rule book.

It is the most inspiring and liberating platform I have ever worked with. It uses less fuel, power, water, and smaller crew size while delivering a greater vision. My 15-camera package fits into a 1-ton cube truck. My creativity has increased exponentially because I am not in the mass-moving business anymore. My camera is 2.5 lbs.”

“We can draw the audience into the action like never before,” says Bandito Brothers CEO/director Mouse McCoy. “The incamera action of the 5D series allows us to get into stuff with a level of agility and intimacy that was previously unimaginable.” McCoy adds that with the Bandito Brothers’ BMW M3 Living in the Lights video, “We went out over a weekend to shoot this thing. It was a labour of love but it reflected a sound business model for production and post. We are close to a million hits for one video and it has been blogged to death.”I

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TIMETABLE

PROJECTION TIMETABLE FRIDAY, JUNE 25, 2010 GRAND AUDI / 09:00 - 20:00 9:00 - 9:40 9:40 - 10:20 10:20 - 11:00 11:00 - 11:30 11:30 - 12:15 12:15 - 13:35 13:35 - 14:15 14:15 - 14:55 15:55 - 16:35 16:35 - 17:15 17:15 - 17:55 17:55 - 18:35 18:35 - 19:15 19:15 - 19:45

CATEGORIES A17 - A19 CATEGORIES A20 CATEGORIES A21 - A23 CATEGORIES A24 - A26 CATEGORIES A27 - A28 CATEGORY B01 CATEGORIES B02 - B04 CATEGORIES A01 - A03 CATEGORIES A04 - A11 CATEGORIES A12 - A16 CATEGORIES A17 - A19 CATEGORIES A20 CATEGORIES A21 - A23 CATEGORIES A24 - A26

AUDI A / 09:00 - 20:00 9:00 - 9:40 9:40 - 10:20 10:20 - 11:00 11:00 - 12:00 12:00 - 12:40 13:00 - 14:15 14:15 - 14:55 14:55 - 15:35 15:35 - 16:05 16:05 - 16:50 16:50 - 18:10 18:10 - 18:50 18:50 - 19:30

CATEGORIES A01 - A03 CATEGORIES A04 - A11 CATEGORIES A12 - A16 MDC SEMINAR - RELAY CATEGORIES A17 - A19 GREY SEMINAR - RELAY CATEGORIES A20 CATEGORIES A21 - A23 CATEGORIES A24 - A26 CATEGORIES A27 - A28 CATEGORY B01 CATEGORY B02 - B04 CATEGORIES A01 - A03

SCREENING LOUNGE 2 / 9:00- 20/00 9:00 - 9:30 9:30 - 10:15 10:15 - 11:35 11:35 12:25 12:25 - 13:05 13:05 - 13:45 13:45 - 14:25 14:25 - 15:05 15:30 - 17:00 17:00 - 17:40 17:40 - 18:10 18:10 - 18:55 18:55 - 19:35

63

Grand Auditorium Auditorium A Esterel Screening Lounge 1 Screening Lounge 2

CATEGORIES A24 - A26 CATEGORIES A27 - A28 CATEGORY B01 CATEGORIES B02 - B04 CATEGORIES A01 - A03 CATEGORIES A04 - A11 CATEGORIES A12 - A16 CATEGORIES A17 - A19 BREAK CATEGORIES A21 - A23 CATEGORIES A24 - A26 CATEGORIES A27 - A28 CATEGORIES B02 - B04

SATURDAY, JUNE 26, 2010

ESTEREL / 09:00 - 20:00 9:00 - 9:30 9:30 - 10:15 10:15 - 11:35 11:35 - 12:25 12:25 - 13:05 13:05 - 13:45 13:45 - 14:25 14:25 - 15:05 15:30 - 17:00 17:00 - 17:40 17:40 - 18:10 18:10 - 18:55 18:55 - 19:35

CATEGORIES A24 - A26 CATEGORIES A27 - A28 CATEGORY B01 CATEGORIES B02 - B04 CATEGORIES A01 - A03 CATEGORIES A04 - A11 CATEGORIES A12 - A16 CATEGORIES A17 - A19 AKQA SEMINAR CATEGORIES A21 - A23 CATEGORIES A24 - A26 CATEGORIES A27 - A28 CATEGORIES B02 - B04

SCREENING LOUNGE 1 / 9:00- 20/00 9:00 - 9:40 9:40 - 10:20 10:20 - 11:00 11:00 - 11:30 11:30 - 12:15 12:15 - 13:35 13:35 - 14:15 14:15 - 14:55 15:55 - 16:35 16:35 - 17:15 17:15 - 17:55 17:55 - 18:35 18:35 - 19:15 19:15 - 19:45

CATEGORIES A17 - A19 CATEGORIES A20 CATEGORIES A21 - A23 CATEGORIES A24 - A26 CATEGORIES A27 - A28 CATEGORY B01 CATEGORIES B02 - B04 CATEGORIES A01 - A03 CATEGORIES A04 - A11 CATEGORIES A12 - A16 CATEGORIES A17 - A19 CATEGORIES A20 CATEGORIES A21 - A23 CATEGORIES A24 - A26

AUDI A / 09:00 - 16:00 9:00 - 9:40 9:40 - 10:20 10:20 - 11:00 11:00 - 1:40 11:40 - 12:20 12:20 - 13:00 13:00 - 13:30 13:30 - 14:15 14:15 - 15:35

CATEGORIES A01 - A03 CATEGORIES A04 - A11 CATEGORIES A12- A16 CATEGORIES A17 - A19 CATEGORY A20 CATEGORIES A21 - A23 CATEGORIES A24 - A26 CATEGORIES A27 - A28 CATEGORIES B01

ESTEREL / 09:00 - 16:00 9:00 - 9:40 9:40 - 10:20 10:20 - 11:00 11:00 - 11:40 11:40 - 12:10 12:10 - 12:55 12:55 - 14:15 14:15 - 14:55 14:55 - 15:35

CATEGORIES A12 - A16 CATEGORIES A17 - A19 CATEGORY A20 CATEGORIES A21 - A23 CATEGORIES A24 - A26 CATEGORIES A27 - A28 CATEGORY B01 CATEGORY B02 - B04 CATEGORY A01 - A02

SCREENING LOUNGE 1 / 09:00 - 16:00 9:00 - 9:40 9:40 - 10:20 10:20 - 11:00 11:00 - 11:40 11:40 - 12:20 12:20 - 13:00 13:00 - 13:30 13:30 - 14:15 14:15 - 15:35

CATEGORIES A01 - A03 CATEGORIES A04 - A11 CATEGORIES A12- A16 CATEGORIES A17 - A19 CATEGORY A20 CATEGORIES A21 - A23 CATEGORIES A24 - A26 CATEGORIES A27 - A28 CATEGORIES B01

SCREENING LOUNGE 2 / 09:00 - 16:00 9:00 - 9:40 9:40 - 10:20 10:20 - 11:00 11:00 - 11:40 11:40 - 12:10 12:10 - 12:55 12:55 - 14:15 14:15 - 14:55 14:55 - 15:35

CATEGORIES A12 - A16 CATEGORIES A17 - A19 CATEGORY A20 CATEGORIES A21 - A23 CATEGORIES A24 - A26 CATEGORIES A27 - A28 CATEGORY B01 CATEGORY B02 - B04 CATEGORY A01 - A02

FRIDAY, JUNE 25, 2010

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FRIDAY, JUNE 25, 2010