Lions Daily News 2014 Friday 20th June

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GRAND AUDI | TODAY | 13:15 –14:00 As the world’s largest advertiser, and maker of everyday

This year, Marc will continue the dialogue with a vision

household and beauty products, Procter & Gamble relies

for creativity that brings a brand’s voice to life across all

on the power of creativity to connect with people.

media platforms connecting and engaging with people

In fact, P&G is a decade-long supporter of the Cannes

across the globe. Marc will bring the dialogue to life

Lions Festival and frequent contributor and champion

through current examples including P&G’s sponsorship

on behalf of brands’ drive for breakthrough creativity.

of the Olympics, and brand case studies such as Pantene, Old Spice and COVERGIRL.

In 2012, P&G’s Global Brand Building Officer Marc Pritchard offered a view into how P&G sparks creativity to build some of the world’s leading brands.

LIONS2014 DAILYNEWS WWW.LIONSDAILYNEWS.COM - PUBLISHED BY BOUTIQUE EDITIONS - FRIDAY/JUNE 20/2014

TODAY’S SEMINARS 10.00 W+K: THE IMPORTANCE OF BEING INDEPENDENT IN A CONSOLIDATED WORLD 11.00 LOWE CAMPBELL EWALD: DETROIT: REBOOT CITY 12.00 TWITTER, VIACOM, WPP: THE CANNES DEBATE 13.15 PROCTER & GAMBLE: THE CREATIVE CANVAS 14.15 PUBLICIS GROUPE: THE REAL AWAKENING OF CHINA: CONSUMPTION ECONOMY & DIGITAL REVOLUTION 15.15 MCDONALD’S: MCDONALD’S WONDERS: WHAT REALLY IS THE ANTIDOTE TO CLIENT PROMISCUITY? 16.15 WHAT’S GREAT, WHAT’S NOT, WHAT’S NEXT? (AND IF YOU’RE NOT PREPARED TO ASK A QUESTION, DON’T COME) WITH SIR JOHN HEGARTY AND DAVID DROGA 17.15 WEBER SHANDWICK: A FULL-FRONTAL, POSSIBLY PROFANE CONVERSATION ON POLITICS, CONTENT AND POLITICAL CONTENT. THE REAL AND THE UNREAL All seminars are in the Grand Auditorium

Levy and SY Lau open door to the real China THIS AFTERNOON’s The Real Awakening Of China seminar sees Pubicis Groupe chairman and CEO Maurice Levy in conversation with Seng Yee Lau, president of the Online Media Group, and senior executive vicepresident of Tencent Holdings.

“It’s no secret that the Chinese economy is growing fast,” Levy said, speaking exclusively to the Lions Daily News. “It seemed to me that this was the perfect time to engage with one of the country’s leading digital players in order to connect the audience in Cannes with the underlying realities of this exciting and dynamic market.”

As a senior executive in the world’s fourth largest internet company, SY Lau is “eminently qualified to reveal what is happening in China now and what is likely to happen there next”, Levy added. With upcoming events such as the IPO of e-commerce giant Alibaba, which powers 80% of all online commerce in the

MAURICE LEVY

world’s second largest economy, a new phase in China’s digital development is clearly starting.

“The IPO is widely predicted to be one of, if not the largest, share offer in history,” Levy said. “In addition, China has the most cellphone users in the world, the largest number of smartphones

Joe Pytka honoured in Cannes ASKED how he felt on hearing

JOE PYTKA

INSIDE BOX

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and, in terms of digital activity, both Shanghai and Beijing are extremely buoyant. I will be discussing the big issues with SY Lau including if and when we might see China moving beyond adopting and adapting ideas from the West and becoming a source of innovation.

that he was to receive the Lion Of St Mark, legendary director Joe Pytka said he was “overwhelmed”. But he also felt it was “undeserved, as most of my work is done by other people. I’m a director, not the primary creative person, so I’m fortunate enough to work with a lot of people who should have been there before me”. The maverick director is known in the industry for his often-contrary views of an industry on which he has stamped his

mark over several decades. Festival chairman Terry Savage said: “Joe Pytka’s prolific and accomplished work has had an enormous influence on TV advertising. His creations have inspired and awed peers and audiences alike.” Pytka, who spoke to a Cannes Lions audience at Speaker’s Corner in the Palais yesterday, will receive his Lion Of St Mark at the final awards ceremony tomorrow night.

Joe Pytka speaks to the Lions Daily News, page 16

ROB LOWE: BEWARE ‘FAUX AUTHENTICITY CTOR Rob Lowe joined mcgarrybowen global chairman and chief creative officer Gordon Bowen in the Grand Auditorium yesterday to share his thoughts on creativity, storytelling, staying power and the need for work/life balance.

Known for being a remarkably cool character, Lowe managed to display his customary calm despite a stage-bombing interruption.

Lowe, whose most recent project Killing Kennedy was a huge hit for National Geographic, spoke frankly about the importance of not becoming all-consumed by work: “If all you have is work, your work eventually suffers.” While balancing work and family requires “conscious doing”, he takes the view that “professional work is much better when family life is in balance”.

A theme in Cannes this week has been the need for authenticity. Lowe had an interesting take, saying: “The only thing worse than inauthenticity is faux authenticity”. One of the highlights of a career that spans three decades was Lowe’s depiction of Sam Seaborn in NBC’s West Wing.

Commenting on its success, he said it delivered scope and scale while also portraying a world that appeared small and intimate. Interestingly, Lowe took a similar line to the week’s other star speakers, Spike Jonze and Jared Leto, when he said that creatives need to be prepared to defend the integrity of their craft.

“There is,” he said, “no upside to not sticking to your guns.”

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ROB LOWE

NEWS / AWARDS PICTURES / LION OF ST MARK / BRANDED CONTENT WINNERS / FILM CRAFT WINNERS / FILM WINNERS / FOCUS ON PUERTO RICO / FOCUS ON ASIA / FOCUS ON THE UK / FOCUS ON ISREAL / SCREENINGS

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HERE’S TO 150 YEARS OF INCREDIBLE CLIENTS

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THIS WAY TO THE FUTURE

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HE 24th edition of the Saatchi & Saatchi New Directors’ Showcase took place yesterday morning in the Grand Auditorium. As always, it was both a technological and a creative tour de force, combining spectacular stagecraft with some of the year’s most inspiring directorial achievements.

This year, the Showcase’s theme was Feel The Reel, a concept conceived by Saatchi & Saatchi creatives Linda Weitgasser and Alex Sattlecker, and brought to life via an unprecedented experiment that saw the Showreel become the event’s hero. The aesthetic of the show was themed around a stylised medical environment, with stern yet sexy nurses encouraging the Showcase’s 2,300 attendees to put on sensory wristbands as they arrived.

The wristbands used a new emotional technology platform XOX, created by fashion technology company Studio XO. Explaining how it worked, Studio XO creative director Nancy Tilbury told Lions Daily magazine that the XOX-powered wristbands captured wearers’ emotions as they watched the Showcase. They then projected those emotions up on screen through colour-coded data visualisation created by visual artists Marshmallow Laser Feast with Berlin collective Elektropastete, with red, for example, representing arousal. “It’s such a new piece of technology that I think people will have walked away with a lot of probing questions,” Tilbury said. “We are seeing a cultural shift in technology.

People want tech that is coupled to their emotions.”

Tom Eslinger, Saatchi’s worldwide mobile and social director, added: “The Showcase allows us to test and learn at scale, while creating the most fun and visual live user test ever. People in Cannes will be talking about wearables and mobile and social and UGC and co-creation — we combined that all in a very cool live event. Aside from a fantastic collection of directing talent, the wearable technology allowed the Showcase audience to co-create the event for the first time simply by watching.”

Feel The Reel, which is curated by Saatchi & Saatchi worldwide film and content director Andy Gulliman, is the latest in a series of technology firsts at the Showcase. The 2010 event, for example, brought back to life the late creative director Paul Arden with a live hologram on stage. For the last four

years, Saatchi has worked with Prettybird’s Juliette Larthe on the live show. It was Larthe who brought in MLF last year and Studio XO this year.

Many of the pieces of work in the Showcase can now be found on the internet and will soon be available on Saatchi & Saatchi’s dedicated YouTube channel. Ones to look out for include Rollin’ Wild (Kyra & Constantin), Beans (Alvise Avati), Cybersmile #dontretaliate (Ed Morris), Conference Call In Real Life (Tripp Crosby) and First Kiss (Tatia Pilieva).

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Future is bright for rising stars of Latin America

THIS YEAR’S MEXICAN LION WINNERS HOLDING A PRESS CONFERENCE

CASA MEXICO, now in its third year at Cannes Lions, is seeing a significant increase in visitors, while the Mexican advertising community is concurrently celebrating a record 20 Lions this year including two Golds.

“We have already welcomed well over 1,500 visitors, and with two days still to go, we expect to get to around

3,000,” Pedro Torres, the president of Casa Mexico, said. “Last year we had 750 people coming through the doors, and this year we predicted t hat it would be around a thousand, so to be 200% up on that is a fantastic result.”

Casa Mexico is an initiative of AMAP, the Mexican advertising agency association, with

the support of government body ProMexico and AMFI, the association of film and TV production societies.

Gold Lion winner Andrés Martinez, vice-president of creative at JWT Mexico City, believes that the country’s knack for ‘ingenio’, which translates as finding ingenious solutions to problems, is finally becoming part of Mex-

ico’s creative culture: “I see a very bright future for Mexico and for Peru, Chile and Colombia, which are the rising stars of the region. Mexico is a huge market with lots of possibilities, and this is a very exciting time for us,” he said.

Nicolás Guzmán, president of McCann Erickson Mexico, whose agency has won three Lions this year so far, is also optimistic, especially as he sees the country’s traditionally conservative clients starting to embrace risk: “We are increasingly working with clients in order to get better work out there, and doing that is a team sport. Agencies cannot do it without clients, and clients can’t do it without agencies,” he said. “But together we can create a virtuous circle where great creative wins awards, which makes the clients happy and consequently more willing to engage with us to do more great work.”

Digital boost for creativity LATIN America is a fast-growing advertising market in terms of creativity thanks to the increase in accessible digital media channels, Alain Groenendaal, president/CEO of Grey Latin America, told Lions Daily News.

And the Cannes Lions International Festivity Of Creativity has been the ideal place to raise awareness of the region’s achievements.

Brazil and Argentina have in the past been the developing region’s only two high-profile advertising countries, he said.

The comparatively smaller markets, including Mexico, Ecuador and Colombia, struggled to be heard and seen when competing creatively on expensive traditional media platforms, including TV.

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GREY LATIN AMERICA’S ALAIN GROENENDAAL

“But the expansion of digital communications has allowed Latin America to compete more effectively, as smart thinking with smaller budgets has placed the region on an equal level playing field,” he said.

As evidence, he observed, Latin American agencies pick up between 60% to 70% of the Lions awards at the beginning of the market, when the media categories include PR, Direct, Mobile and Cyber. The percentage share falls to about 30% by

the end of the Festival when the categories include the higher-budget media formats, including Film and Branded Content & Entertainment.

Furthermore, Ogilvy & Mather Brasil clinched the Lions Agency Of The Year award last year.

JWT Puerto Rico won the country’s first Grand Prix in 2012. Grey Ecuador, which won the first Lions for Ecuador, picked up five in 2013 compared with two the year before and had already picked up eight by Wednesday this year.

“Although the economies in Brazil and Argentina have been slowing down, Latin America as a whole is still growing and creativity is proving to be big as more and more of the other countries participate,” he added.

LIONS DAILY NEWS

EAT THE FISH AND SAVE THE PLANET

OLOMBIA, alongside Chile, Peru and Mexico, is now widely seen as a one of the brightest stars of Latin America’s new wave of creativity. The Lion Fish: Terribly Delicious campaign by new agency Geometry at this year’s Lions, typifying the freshness that characterises the best work from the region.

“The campaign was shortlisted in Direct, and won Silver and Bronze in the Promo category,” said Juan-Jose Posada, vice-president, creative, at Geometry. “And more to the point this campaign is actually helping to combat a huge ecological problem in the Caribbean which is caused by the presence of the Lion Fish. It comes from the Pacific, but in the Caribbean it has no natural predators, and it eats all day so it is decimating stocks of local fish.”

Posada engaged top Colombian chefs to develop recipes and asked the Catholic church — 84% of Colombians are Catholic — to advise congregations that eating Lion Fish in Easter week would help fight a potential ecological disaster. “We have had a lot of compliments about the freshness of the work, but to us it’s just natural,” he said.

“Colombians are a happy race and so that will infuse the work.”

Another campaign with a strong social element was Rain For Sale: “The town of Lloro in the jungle is the rainiest inhabited town in the world. It rains 360 days per year,” Posada said.

“Ironically though, the town had no clean drinking water. Then Coca-Cola stepped in and asked the locals to collect rainwater in empty bottles, these were then sold to celebrities and executives for $500 each, raising enough money to install a water treatment plant, since which there has been a dramatic drop in water-born diseases.”

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Girls’ Lounge gives women the space to be themselves THE CANNES Lions International Festival Of Creativity has partnered with The Ipsos Girls’ Lounge, a collaborative movement spearheaded by Shelley Zalis, CEO of Ipsos Open Thinking Exchange (Ipsos OTX), to create a girls-only mentoring space at the media industries’ largest trade events.

The Ipsos Girls’ Lounge has generated recognition virally since its inception in 2013. To date, 2,000 women have benefited from the opportunity to “forge connections, spark conversations and create lasting impact through a network of empowered and inspired women”, Zalis said.

The first female chief executive to be ranked in the research industry’s top 25, Zalis is an advocate of helping women to succeed in business. “Women don’t do deals

IPSOS OTX’S SHELLEY ZALIS: “IS THE RELATIVE LACK OF WOMEN IN EXECUTIVE ROLES A GENDER ISSUE OR A RESPONSIBILITY ISSUE?”

— we develop relationships,” she said. “The Girls’ Lounge is nothing to do with professional seniority or individual companies, but everything to do with women. Our services aim to counteract commonplace feelings of vulnerability in the workplace.”

The social salon provides

hair, makeup and business styling tips from Courreges (by appointment), as well as daily networking events, including a panel discussion and a series of breakfast talks.

Tuesday’s panel discussion, Tea Time With The Girls, curated by Meredith Levien,

The New York Times’ executive vice-president of advertising, inspired a “spirited, emotional and energising debate” about the relative absence of women at the top.

“Women seek perfection and we don’t know how to find the work/life balance with all our responsibilities in a

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dominant culture of rigidity,” Zalis added. “This makes us crazy. Most of us have to pull out. Our discussion raised the question: is the relative lack of women in executive roles a gender issue or a responsibility issue?”

Zalis said corporations could activate change by reconsidering their core mandate, rather than seeking simply to quota-fill by employing “available” women in leadership roles. She urged companies to actively seek out the best women in the world for top jobs and then adapt the working conditions.

Zalis said the hallmarks of a good leader are fundamentally no different from the characteristics of a woman: “The best leaders of today have care-giving skills. The irony is that women can’t get to the top because they are care-givers.”

Today is the last opportunity for female delegates to visit The Ipsos Girls’ Lounge in the Hotel Martinez penthouse suite.

Great Scott! Yummi drives back to the future to highlight box-office record

THE DELOREAN OUTSIDE THE PALAIS

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THE DELOREAN parked outside the Palais during the Cannes Lions International Festival of Creativity has brought smiles to the faces of delegates and members of public, young and old. It evokes memories of 1985’s Back To The Future, a work of cinematic genius that draws from the comedy, sci-fi, buddy and roadmovie genres to create one of the greatest feel-good cinema experiences of all time.

So why is the DeLorean here?

“In Back to the Future II, Marty McFly and Doc Brown travel to the year 2015,” said AJ Simpson, CEO of Yummi Media Group. “The link for us is that 2015 is expected to be the biggest box-office year ever. We’re predicting footfalls greater than ever before. From our perspective, that’s useful, because we

can turn to advertisers and marketers who are planning their budgets for 2015 and say that, while TV takes the prime chunk of the cake, we can deliver some serious numbers in terms of footfall to the cinema.”

Back To The Future was the theme of this year’s SAWA seminar, at which Yummi presented its cineme app, which enables cinemagoers to respond to and interact with the big screen.

Cineme was launched in partnership with UK-based cinema media buyer Digital Cinema Media (DCM), which delivers the app to close to 3,000 screens. It enables cinemagoers to interact with presentations before and after the main feature, creating an opportunity for consumers to engage with brands through a range of inter-

active opportunities beyond the linear commercials that are traditionally projected around the main feature.

The concept was revealed at the SAWA seminar in 2013 and has since launched in the UK and Singapore. This year in Cannes, Yummi has signed with China Times in China and NCM in the US, adding some 22,000 screens to the app’s reach.

Yummi also intends to bring studios into the mix, thus engaging producers, exhibitors, agencies, brands and, ultimately, the consumer.

“Part of our reason for being here is to hand cineme across to the creative agencies,” Simpson said. “We want them to grab hold of this and take it to new places with real innovation backed by creativity.”

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Nicely does it – but don’t get soppy or sentimental THE CURRENT trend for heartfelt stories, devoid of sarcasm, cynicism or nastiness was the subject of BBDO’s Nice Is The New Black seminar yesterday, moderated by Breakout actor Beck Bennett and featuring David Lubars, BBDO Worldwide’s chief creative officer, and Josy Paul, chairman and chief creative officer of BBDO India.

Speaking to Lions Daily before the seminar, Bennett — the star of BBDO’s ‘Its Not Complicated’ campaign for AT&T — emphasised the importance of giving talent ‘artistic licence’. “I was given free reign to improvise as well as follow a script and this worked to create a special chemistry,” he said.

Children — and simplicity — are at the core of BBDO’s hugely popular AT&T ads, which focus on the size and speed of the carrier’s network. Bennett skilfully quizzed children across the US, his simple questions giving rise to charming and hilarious answers.

“Oxytocin is the chemical that triggers ‘nice’ in us — and it’s free,” Paul said, talking about the magic ‘truth hormone’ in all

ACTOR BECK BENNETT (LEFT) WITH BBDO’S DAVID LUBARS AND JOSY PAUL

great communications. He added that, when brilliant ideas are injected with oxytocin, the work is good enough to go viral because people believe in it.

Lubars said that if ‘nice’ is not executed with restraint, work is in danger of becoming soppy, maudlin or sentimental. He also underlined the importance of leaving “holes” in the work to allow the audience to fill in the blanks. In the words of jazz great Miles Davies, “it’s the notes you

don’t play” that make the difference.

BBDO’s ‘Made of More’ campaign for Guinness was enabled by the insight that substantial people drink substantial beer.

“We then had to continually strip back the work to find a way to quietly, humbly celebrate people with extraordinary integrity and character,” Lubars said.

“You can’t be successful overlaying a brand with a story that isn’t true. We are a mirror for

what is true.”

This year marks Lubars 10th anniversary as BBDO’s chief creative officer. Lubar has overseen BBDO’s evolution from a TV-centric agency to one that is truly multiplatform.

“Cannes Lions is informed by what people like us do,” Lubars added. “Once upon a time there were very rigid categories, but now the show is liquid. The cement will never harden again.”

Gifs lift the value of digital art DIGITAL art is now being taken seriously, Zoe Lazarus, creative director of the Nova Awards, told the audience at yesterday’s Creative Fuel: Art For Advertising 2015 session, which looked at the increasing number of digital art projects that combine art and science.

Observing that the first-ever auction of virtual art was held last year, Lazarus said: “Collectors are now paying five-figure sums for animated gifs. Artists such as Andreas Nicolas Fischer from Berlin post their latest work on Tumblr, using software he designed himself to create endless variations of his vir-

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NOVA AWARDS’ ZOE LAZARUS

tual sculptures. He then decides which works to print out or put in galleries by the number of online shares they generate.”

Highly artistic gifs — or short animated loops — are increasingly being used by artists including Hungarian/German graphic designer David Szakaly. “He has been working with gifs since 2008 under the nom de plume Davidope,” Lazarus said. “When he exhibits in galleries, the works are only visible through a smartphone app, which creates a situation where they are not quite online and not quite in the gallery.”

And of course, this creativity

is now being harnessed by brands such as Diesel and Absolut. “When launching its Amber range, Absolut worked with Zeitgeist Studios to create an advert that featured digital animation, which instantly gave the brand a modern feel,” Lazarus said. “Diesel used glitched-up gifs that link the brand to its target audience.”

She added that, in the fashion world, UK designer Gareth Pugh used an installation featuring digital art and virtual experiences to showcase his latest collection to shoppers in the London store Selfridges.

LIONS DAILY NEWS

CLOSING GAP BETWEEN ART AND BRANDS RANDED content must have access to the global art community to maintain a permanent place in the business of marketing creativity, concluded speakers at the Festival’s Art Meets Advertising Remixed series yesterday.

Panelists in the Talenthouse: The New Patrons session argued that brand-owners have the potential to become the new patrons of the arts.

The discussion was spearheaded by the Los Angelesheadquartered social-network service Talenthouse, which was launched in 2009 to build a global community of emerging talent in film, fashion, photography, music and live performance. The service provides access to real-life briefs by brands and celebrities seeking original content for their marketing campaigns. “Talenthouse sits between user-generated content and the major creative agencies,” said Maya Bogle, the company’s co-founder and managing director. “We don’t like UGC because of the poor quality — and also shit doesn’t share.

If we can divert just a little of the billions spent on advertising towards artistic creativity, we could do so much good for truly talented artists.” Also on stage were Charlie Patterson, a recent design-school graduate discovered by Microsoft and Adidas via Talenthouse, and Craig Hepburn, Nokia’s global director of social and digital, who has used Talenthouse.

Meanwhile, Thomas Benski, founder of “integrated-content production house” Pulse Films, and Graham Hodge, Pulse’s executive producer of branded content, said that branded content could be much more effective than standard advertising for fashion brands. They were speaking at Pulse Films: Fashion Content Remixed, where they discussed how The Kooples, the French fashion retailer, has even launched its own contentcreation unit, TK Foundry.

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DESIGN JURY PRESIDENT WOLFF OLINS’ IJE NWOKORIE (RIGHT) PRESENTED THE DESIGN GRAND PRIX TO SINDRE HOLM (LEFT) AND ERIC AMARAL ROHTER (CENTRE) OF NORWEGIAN AGENCY ANTI FOR THEIR WORK FOR BERGEN INTERNATIONAL FESTIVAL

ICONOCLAST PARIS COLLECTED THEIR CYBER GRAND PRIX FOR ‘PHARRELL WILLIAMS 24 HOURS OF HAPPY’ ON BEHALF OF UNIVERSAL/ IAMOTHER FROM JURY PRESIDENT 42 ENTERTAINMENT’S SUSAN BONDS (FAR RIGHT)

THE TEAM FROM CREATIVE ARTISTS AGENCY LOS ANGELES COLLECTS ITS CYBER GRAND PRIX FOR ‘THE SCARECROW’, A FILM ON BEHALF OF CHIPOTLE MEXICAN GRILL

MEET THE WINNERS

AT THE WEDNESDAY NIGHT AWARDS CEREMONY, LIONS WERE PRESENTED IN THE DESIGN, PRESS, PRODUCT DESIGN, RADIO AND CYBER CATEGORIES. THE LIONS DAILY NEWS TEAM WAS THERE TO RECORD THE GLORY

THE FIRST EVER PRODUCT DESIGN GRAND PRIX WAS PRESENTED TO AMSTERDAMBASED G-STAR RAW, FHV BBDO AND PART OF A BIGGER PLAN, FOR THEIR ‘RAW FOR THE OCEANS’ JEANS MADE FROM RECYCLED PLASTIC, FROM JURY PRESIDENT SAMSUNG’S DONGHOON CHANG

SWEDEN’S FORSMAN & BODENFORS WON A CYBER GRAND PRIX FOR VOLVO TRUCKS ‘LIVE TEST SERIES’

THE TEAM FROM LOWE VIETNAM RECEIVES ITS PRESS GOLD LION FROM JURY PRESIDENT REMI BABINET (SECOND LEFT) FOR WORK ON UNILEVER’S OMO BRAND

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KANA MISAWA (LEFT) AND YUYA FURAKAWA FROM DENTSU TOKYO PICKED UP A DESIGN GOLD LION FROM JURY PRESIDENT IJE NWOKORIE FOR ‘THE BEAUTIFUL BLACK LIST’’, A CAMPAIGN FOR YOSHIDA HIDEO MEMORIAL FOUNDATION AND THE ADVERTISING MUSEUM TOKYO THE TEAM FROM LEMZ AMSTERDAM CELEBRATED THEIR CYBER GOLD LION FOR ‘SWEETIE’, A CAMPAIGN ON BEHALF OF THE INTERNATIONAL CHILDRENS’ AID ORGANISATION. ON THE LEFT IS CYBER JURY PRESIDENT SUSAN BONDS

THE TEAM FROM OGILVY & MATHER JOHANNESBURG — ALONG WITH TWO SPECIAL GUESTS — COLLECTED ITS RADIO GRAND PRIX FOR THE LUCOZADE CAMPAIGN FROM JURY PRESIDENT RADIO & BRAND SOUND’S TONY HERTZ (RIGHT)

NICK SHEPPARD (LEFT) AND TOM WEBBER OF ADAM&EVEDDB LONDON FLANK PRESS JURY PRESIDENT BETC’S REMI BABINET AS THEY RECEIVED THE AGENCY’S PRESS GRAND PRIX FOR WORK ON HARVEY NICHOLS’ CHRISTMAS CAMPAIGN

THE TEAM FROM OGILVY & MATHER MUMBAI COLLECTED A DESIGN GOLD LION FOR THE ‘CLEFTTOSMILE’ LOGO, CREATED FOR OPERATION SMILE INDIA

AM FROM VIETNAM VES ITS PRESS LION FROM RESIDENT ABINET ND LEFT) ORK ON VER’S OMO

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LIONS DAILY NEWS

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Originality is part of the plan for Murphy

CLEAR CHANNEL’S BOB PITTMAN: “LEAVE YOURSELF OPEN TO THE UNEXPECTED”

Less math, more magic keeps creativity alive CLEAR Channel Entertainment chairman and CEO Bob Pittman is one of the media industry’s most entrepreneurial leaders.

The founder of MTV in 1981, he has variously been described by his peers as a “visionary” and “the wonder boy of branding”.

This week, Pittman took time out to talk to the Cannes Lions Daily about the threats to creativity and original thinking in big organisations. “I get worried about creativity in the decisionmaking process,” he said.

“Sometimes great ideas get voted down by the majority and never make it up to the top office. When that happens, companies get a lot of ordinary consensus crap.”

According to Pittman, who oversees a radio and outdoor empire with annual revenues of $1.7bn (€1.24b), companies need to get the balance right between “math and magic”. He added: “Research has its value but it

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doesn’t tell you what to do, it tells you what is. It’s the magic — the genius idea — that you need to back, even if the majority is against it. Once you have a great idea, don’t over-analyse it. Trust yourself. If you’re sure it’s the right idea, why schedule a decision for next week? Take action straight away.”

This approach does not always make him popular with his own workforce: “From my office, I don’t always hear the best ideas because they may have been voted down at an earlier stage of the process. So I ask what the dissenters had to say and sometimes I back those ideas. I might then get complaints from people who feel like they have been over-ruled, but I tell them it’s not about being right or wrong — it’s about getting the best idea.”

This willingness to go searching for the best idea is good leadership, Pittman argues: “Steve

Jobs cared about every detail and felt free to disagree with the majority. I try to do the same.”

He admitted, however, that this disruptive view of hierarchy presents an interesting dilemma for young executives. What should they do if they think their idea has been unfairly obliterated? “It’s possible to be firm with your idea without being an asshole. You’ve got to be reasonable about it, but be passionate enough to speak out if you have to. Sometimes, you might have to go above your manager.”

Ideas are what bring Pittman to Cannes: “In my job, you can get cut off from context and idea. But when you’re here, ideas flow from all kinds of places. It might be a discussion at 02.00 in a bar or a chance meeting in a corridor. My advice is don’t over-schedule meetings. Leave yourself open to the unexpected.”.

THE CANNES Lions Festival is unashamedly focused on creativity. But it’s noticeable that a growing number of highprofile brand marketers and agency planners have begun to infiltrate the event.

For JWT Worldwide planning director Guy Murphy this makes sense in an era when brands have had to radically rethink their approach to consumer engagement: “At its best, account planning provides an originality of thought that can help create original creative executions. It’s about discovery.

What have you found that no one else has ever found before?

The lesson brands are learning is that it isn’t enough to be interesting or clever. They need to be constructive, inspiring and helpful in people’s lives.”

In broad terms, planning is part of a tripartite structure in agencies that also includes creative teams and client-facing account management teams. While its primary responsibility is to manage the consumer interface, Murphy says planning is about “a lot more than consumer insight. It’s a strategic role that can involve interrogating prod-

uct, looking at academic expertise and developing a historical perspective on market changes.”

The planning function was first mooted around 45 years ago, Murphy said — both JWT and BMP claim credit for its invention — but with the changing nature of the brand-consumer dialogue it has taken on a new significance. “These days you can see overlapping planning operations at ad agencies, media agencies, digital agencies and within client companies,” he added. “So I was excited when the Festival introduced a Creative Effectiveness category.

That’s a great way to celebrate strategy and remind people that creativity needs to serve the business needs of clients.”

From a planner’s perspective, Cannes has great value, Murphy believes, because it throws up emerging trends: “You see a lot of debate around mobile, personalisation, wearables, big data, real-time optimisation, branded content and consumer opt-in. I think all these things are becoming intensely relevant to people and will put an even greater premium on planning as a discipline.”

JWT WORLDWIDE’S GUY MURPHY: “IT’S ABOUT DISCOVERY”

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LIONS DAILY NEWS

Porter helps Berlin School to formulate new strategy for creative excellence

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A WHITE paper, Building New Strategies For Creative Excellence: Porter Vs Porter, was presented yesterday as part of the Cannes Creative Leaders Programme in association with the Berlin School, the CMO Accelerator Programme and the CEO Academy.

Co-authored by Professor David Slocum and Professor Paul Verdin of the Berlin School of Creative Leadership, the paper pitches the old-world model as described by Harvard Business School’s Michael Porter head to head with what Slocum called Chuck Porter’s “highly adaptive and flexible approach”.

To achieve creative excellence in today’s market, Slocum and Verdin identify four key principles: a commitment to strategic intent and on-going public debate; fostering “communities of participation”; building trust through imaginative and interactive storytelling; and moving beyond competition to leverage the value of creative breakthroughs and communitybuilding.

“The 10-page paper looks at the transformation of creative strategies in a world where any advantage gained is at best fleeting,” Slocum added. “Therefore, being flexible is a necessary element. What we propose is that it is now much more important to create adapted and adaptable commitments, rather than to try to grow competitive advantage.”

It is, at root, all about building communities. “Despite the relentless pace of the modern world, agencies still need to make commitments, but ones that are based around a new set of tenets, including building an audience through storytelling, and building consumer trust,” Slocum said. “What we are say-

ing is that cumulative value creation, or creating value around a brand, is more important than Michael Porter’s ‘all or nothing’ approach, which involves trying to have an advantage over other agencies.”

The old model was based on trust and transaction. “A more relevant approach for our times is to generate trust among communities by stepping back and giving up a degree of control, because great creative is meant to be completed by its intended audience,” Slocum added.

“Paul and I believe we are moving from the big idea to the whole idea, and it is audience interaction that makes an idea ‘whole’.”

Slocum and Verdin chose Chuck Porter because his legendary presentations are neither theoretical nor grounded in conventional management discourse.

“Instead, they provide insights and strategic thoughts that serve as a valuable practical resource for elaborating more systematically developed concepts and models,” Slocum said.

PROFESSOR DAVID SLOCUM: “MOVING FROM THE BIG IDEA TO THE WHOLE IDEA”

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Industry gurus tell stories to the next generation “STORYTELLING is the new black” according to Keith Reinhard, chairman emeritus of DDB Worldwide, who is leading the fray as dean of the new Young Lions Storytelling Academy alongside Academy tutor Mary Lee Copeland, founder, The (next level) Storytelling Academy (TNLSA).

This year 60 delegates are attending the 10 Cannes Lions Academies, taking advantage of the melting pot of legendary industry minds speaking at targeted Academy sessions and networking events.

Reinhard said the nodding of heads at any mention of storytelling this year is testament to its importance as a tool for brands to connect and build long-term relationships with their consumers in the new

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media landscape — although, he added, telling stories has always been at the core of his work over the last 60 years.

“I think in the advent of the digital age everyone got distracted by the new media tools and diverted attention from the essential craft. Stories are the oldest form of sharing knowledge. Now we understand how technology can help us disseminate our stories throughout the ecosystem in amazing ways — and also give consumers an opportunity to interact with them.”

Reinhard wants his Young Lions to consider the meaning of a brand’s essence in light of Simon Sinek’s Golden Circle: inspired companies think, act, and communicate from the inside out — “don’t think of a

brand in terms of what it does or how it does it — but why. A product without a story is a commodity — but with a story, it’s a successful brand,” he said.

Academy participants Simina Zidarn, University of Bucharest, and Starcom Mediavest Group’s Renuke Samarasinghe, described the Academy mentoring as “out of this world”.

Both Young Lions agreed that progressive learning has been at the heart of the experience.

“I didn’t have a structure before I attended this training programme,” Zidarn said. “Now I know how to build a story.”

Tim Mellors, Pointblank’s creative partner and dean of the Roger Hatchuel Academy, said his new role has brought him a more satisfying relationship with the Young Lions:

YOUNG LIONS STORYTELLING ACADEMY GURUS: KEITH REINHARD, CHAIRMAN EMERITUS OF DDB WORLDWIDE AND MARY LEE COPELAND, FOUNDER, THE (NEXT LEVEL) STORYTELLING ACADEMY

“The Roger Hatchuel Academy has the youngest delegates participating; they are not cynical and remain thoroughly open and interested,” Mellors said.

“Being at Cannes Lions is like being drenched by a hosepipe of information; I have under-

lined the importance of learning how to pace yourself and filter.”

With 34 participants, Mellors felt that there would be 34 completely different responses to the Academy sessions – but by the end of the week they would start to coalesce.

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‘I’M A PAIN IN THE ASS’

T

RUE to his maverick form, Joe Pytka immediately raised doubts as to whether the Festival was justified in honouring him with this year’s Lion of St Mark. “It’s overwhelming frankly and probably it’s undeserved, because most of my work is done by other people. I’m running with other people’s ideas,” he told Julian Newby ahead of the tomorrow night’s gala where he will receive the award. “They asked me to put together a reel so I went through my body of work and I’m astonished at the amazing people I’ve worked with.”

Pytka brought his experience in documentary filmmaking to commercials, after having become disillusioned with the form. “I wanted to bring the same truthfulness, honesty and observation that I had applied to documentary into the commercials I did, and I was fortunate enough to work with a number of people early on who shared my sentiments — Ben McCabe was the first. And then others wanted the same truthfulness in the work, whether it was humour or emotion. As long as we were on the same page as far as getting the truthfulness into the work, even though it was in a commercial form, that’s what we

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did. It was easy for me to work with people who shared the same views.” He added: “I looked back at my work and each piece I liked was unique to the creative people behind it.” Asked about the industry today, Pytka starts to reinforce his reputation for forthrightness. “It’s totally different and it’s gotten worse,” he said. “And I think the easy access to technology and the digital world has watered things down. It makes the art too accessible and people don’t have to work hard enough.”

Then there’s the corporatisation of agencies. “They used to be entrepreneurships, they used to be these little smaller businesses where you have a bunch of creative people working for a common cause. And then they got rich and almost all ad agencies now are big corporations and I think that diminishes true risk-taking and creativity. There’s always a safety margin in all the work and I really don’t see a lot of the high-quality stuff that was around in the Sixties when you had great directors — like Howard Zief, for example.

But Pytka continues to produce commercials in the corporate, digitised world, and continues to win plaudits as a master of the form. Recent clients include

UPS, IBM, JBL headphones and McDonald’s. So does he manage to apply his old-world approach to the new-world order? “Yep, because I’m a pain in the ass. I have a good relationship with the people I work with now they’ve accepted me, because I’ve had some success.” Pytka was in Cannes last year as a judge when he “saw 2,500 commercials and a lot of them were fairly high-quality. But it’s not like the days when you would see a commercial by Ridley Scott or Hugh Hudson or Jean-Paul Goude.” One unlikely commercial did touch the great man. “It was for a semipornographic internet channel for disabled people.

When I first saw it I was appalled by it and irritated by it, but then I found out it was only for the internet and meant for the disabled. It was audacious.”

Pytka admits his views occasionally come across as “jaded” — (“This interview will probably end my career!”) — but it’s clear that his passion for film and the industry is as strong as it ever was, as he proved during his Speakers’ Corner presentation in Cannes this week. And his affection for the Festival remains strong too: “I’ve always loved Cannes. I’ve been going there for 25 years… and I’ve only missed a few Festivals. It’s always been a special place for me.”

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a collection of modern classics

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A04/025 COOK’S RANGE | LURPAK | DAIRY | ENT/AGE BLINK PRODUCTIONS LONDON/WIEDEN+KENNEDY LONDON | PROD.CO. BLINK PRODUCTIONS LONDON

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A04/044 THE MAN WHO COULDN’T SLOW DOWN | LVMH/MOET HENNESSY USA | HENNESSY | ENT/AGE DROGA5 NEW YORK | PROD.CO. EPOCH FILMS NEW YORK/SPOT WELDERS NEW YORK/THE MILL NEW YORK

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A05/051 FOCUS AND EXPLODE | DICK’S SPORTING GOODS | SPORTING GOODS | ENT/AGE ANOMALY NEW YORK | PROD.CO. IMPERIAL WOODPECKER NEW YORK A05/081 MISTAKES | NEW ZEALAND TRAFFIC AUTHORITY | SPEED | ENT/AGE METHOD STUDIOS SYDNEY/CLEMENGER BBDO WELLINGTON | PROD.CO. FINCH SYDNEY/METHOD STUDIOS SYDNEY A05/093 IAN UP FOR WHATEVER FILM | ANHEUSER-BUSCH | BUD LIGHT | ENT/AGE BBDO NEW YORK | PROD.CO. HELO LOS ANGELES A05/134 MAKE EVERY YARD COUNT | NIKE | NIKE CRICKET | ENT/AGE JWT INDIA BANGALORE | MED MINDSHARE BANGALORE | PROD.CO. 1ST DECEMBER FILMS BANGALORE A05/151 POSSIBILITIES | NIKE | NIKE | ENT/AGE MJZ LOS ANGELES/WIEDEN+KENNEDY PORTLAND | PROD.CO. MJZ LOS ANGELES

USA AUSTRALIA USA INDIA USA

SCRIPT A06/004 PEP TALK | NETFLIX CANADA | ENTERTAINMENT | ENT/AGE DDB CANADA VANCOUVER | PROD.CO. PARTNERS FILM TORONTO/CYCLE MEDIA VANCOUVER/WAVE SOUND PRODUCTIONS VANCOUVER

CANADA

A06/012 BLAZED | NEW ZEALAND TRANSPORT AGENCY | DRUG DRIVING | ENT/AGE CLEMENGER BBDO WELLINGTON | MED OMD WELLINGTON | PROD.CO. CURIOUS FILM AUCKLAND

NEW ZEALAND

A06/014 MISTAKES | NEW ZEALAND TRANSPORT AGENCY | SPEED | ENT/AGE CLEMENGER BBDO WELLINGTON | MED OMD WELLINGTON | PROD.CO. FINCH SYDNEY

NEW ZEALAND

A06/032 CANADIAN ZOMBIE | CANADIAN FILM FEST | CANADIAN FILM FEST | ENT/AGE JWT TORONTO | PROD.CO. SPY FILMS TORONTO A06/037 SAPEURS | DIAGEO | GUINNESS | ENT/AGE AMV BBDO LONDON | MED CARAT LONDON | PROD.CO. MJZ LONDON LONDON A06/084 BOB DYLAN LIKE A ROLLING STONE | SONY MUSIC | ALBUM RELEASE | ENT/AGE INTERLUDE NEW YORK | PROD.CO. WALTER PICTURES NEW YORK /PULSE FILMS LONDON A06/086 THE EPIC SPLIT | VOLVO TRUCKS | THE NEW VOLVO FM | ENT/AGE FORSMAN & BODENFORS GOTHENBURG | PROD.CO. FOLKE STOCKHOLM

CANADA UNITED KINGDOM USA SWEDEN

A06/096 FISHERMAN | DIRECTV | DIRECTV | ENT/AGE MJZ LOS ANGELES/GREY NEW YORK | PROD.CO. MJZ LOS ANGELES

USA

A06/099 SOUP | DIRECTV | DIRECTV | ENT/AGE MJZ LOS ANGELES/GREY NEW YORK | PROD.CO. MJZ LOS ANGELES

USA

A06/101 POSSIBILITIES | NIKE | NIKE | ENT/AGE MJZ LOS ANGELES/WIEDEN+KENNEDY PORTLAND | PROD.CO. MJZ LOS ANGELES

USA

A06/110 CLIMATE NAME CHANGE | 350 ACTION | CLIMATE NAME CHANGE | ENT/AGE BARTON F. GRAF 9000 NEW YORK | PROD.CO. FURLINED LOS ANGELES/BIG SKY EDIT NEW YORK/APM MUSIC NEW YORK

USA

A06/120 YOUR CHOICE | HOME BOX OFFICE INC. | HBO GO | ENT/AGE SS+K NEW YORK | PROD.CO. O POSITIVE FILMS NEW YORK

USA

A06/121 FAITHFUL | HOME BOX OFFICE INC. | HBO GO | ENT/AGE SS+K NEW YORK | PROD.CO. O POSITIVE FILMS NEW YORK

USA

A06/122 UNCONDITIONAL LOVE | HOME BOX OFFICE INC. | HBO GO | ENT/AGE SS+K NEW YORK | PROD.CO. O POSITIVE FILMS NEW YORK

USA

A06/123 HAPPILY MARRIED | HOME BOX OFFICE INC. | HBO GO | ENT/AGE SS+K NEW YORK | PROD.CO. O POSITIVE FILMS NEW YORK A06/130 OFFICE AFFAIR | ADOT.COM | ADOT.COM | ENT/AGE OGILVY & MATHER JAPAN TOKYO | PROD.CO. STREETLIGHT FILMS LONDON/CUT + RUN LONDON

USA JAPAN

A06/162 TOO COMPLICATED | DU | TELECOMMUNICATIONS | ENT/AGE LEO BURNETT DUBAI | PROD.CO. DEJA VU DUBAI

UNITED ARAB EMIRATES

A06/164 TOO DEPRESSING | DU | TELECOMMUNICATIONS | ENT/AGE LEO BURNETT DUBAI | PROD.CO. DEJA VU DUBAI

UNITED ARAB EMIRATES

A06/198 MOMSONG | PROCTOR & GAMBLE | OLD SPICE | ENT/AGE MJZ LOS ANGELES/WIEDEN+KENNEDY PORTLAND | PROD.CO. MJZ LOS ANGELES

USA

USE OF MUSIC A07/046 SAPEURS | DIAGEO | GUINNESS | ENT/AGE AMV BBDO LONDON | MED CARAT LONDON | PROD.CO. MJZ LONDON LONDON

UNITED KINGDOM

A07/079 LEAVE THE WORLD BEHIND | VOLVO CARS CORPORATION (VCC) | VOLVO XC60 | ENT/AGE FORSMAN & BODENFORS GOTHENBURG | MED MINDSHARE GOTHENBURG | PROD.CO. CAMP DAVID STOCKHOLM

SWEDEN

A07/080 THE EPIC SPLIT | VOLVO TRUCKS | THE NEW VOLVO FM | ENT/AGE FORSMAN & BODENFORS GOTHENBURG | PROD.CO. FOLKE STOCKHOLM

SWEDEN

A07/084 THE SCARECROW | CHIPOTLE MEXICAN GRILL | FAST CASUAL DINING | ENT/AGE CREATIVE ARTISTS AGENCY LOS ANGELES | PROD.CO. MOONBOT STUDIOS SHREVEPORT A07/092 PERFECT DAY | SONY | PLAYSTATION | ENT/AGE BBH NEW YORK | MED CARAT SAN FRANCISCO | PROD.CO. MJZ NEW YORK A07/105 I WILL SURVIVE | VH1 LATIN AMERICA | VH1 LATIN AMERICA | ENT/AGE DEL CAMPO SAATCHI & SAATCHI BUENOS AIRES | PROD.CO. LANDIA BUENOS AIRES/STINK LONDON A07/162 MOMSONG | OLD SPICE | PERSONAL CARE | ENT/AGE WIEDEN+KENNEDY PORTLAND | PROD.CO. MJZ LOS ANGELES A07/163 PICK THEM BACK UP | PROCTER & GAMBLE | CONSUMER PACKAGED GOODS | ENT/AGE WIEDEN+KENNEDY PORTLAND | MED CARAT NEW YORK | PROD.CO. JOINT EDITORIAL PORTLAND

USA USA ARGENTINA USA USA

A07/224 EITB-BETTER WITH MUSIC – OBAMA | EITB | RADIO EUSKADI | ENT/AGE DIMENSION SAN SEBASTIAN | MED EITB BILBAO | PROD.CO. DEBOLEX SAN SEBASTIAN/IRUSOIN SAN SEBASTIAN

SPAIN

A07/225 EITB BETTER WITH MUSIC - MOURINHO | EITB | RADIO EUSKADI | ENT/AGE DIMENSION SAN SEBASTIAN | MED EITB BILBAO | PROD.CO. DEBOLEX SAN SEBASTIAN/IRUSOIN SAN SEBASTIAN

SPAIN

SOUND DESIGN A08/010 HANDS | HONDA | HONDA BRAND FILM | ENT/AGE FACTORY LONDON/WIEDEN+KENNEDY LONDON | PROD.CO. NEXUS PRODUCTIONS LONDON

UNITED KINGDOM

A08/023 ADVENTURE AWAITS | ARLA FOODS | COOK’S RANGE | ENT/AGE WAVE STUDIOS LONDON/WIEDEN+KENNEDY LONDON | PROD.CO. BLINK PRODUCTIONS LONDON

UNITED KINGDOM

A08/034 PERFECT DAY | SONY | PLAYSTATION | ENT/AGE BBH NEW YORK | MED CARAT SAN FRANCISCO | PROD.CO. MJZ NEW YORK A08/074 MAKE EVERY YARD COUNT | NIKE | NIKE CRICKET | ENT/AGE JWT INDIA BANGALORE | MED MINDSHARE BANGALORE | PROD.CO. 1ST DECEMBER FILMS BANGALORE A08/085 BOOTS | ARMY | ARMY | ENT/AGE 750MPH LONDON/JWT LONDON | PROD.CO. HLA LONDON

USA INDIA UNITED KINGDOM

VISUAL EFFECTS A09/014 ASSASSIN’S CREED IV BLACK FLAG, DEFY | UBISOFT | GAMING PROMO | ENT/AGE MPC LONDON/SID LEE PARIS | PROD.CO. STINK LONDON

UNITED KINGDOM

A09/018 HANDS | HONDA UK | HONDA | ENT/AGE NEXUS PRODUCTIONS LONDON/WIEDEN+KENNEDY LONDON | PROD.CO. NEXUS PRODUCTIONS LONDON

UNITED KINGDOM

A09/044 GREATNESS AWAITS | SONY | PLAYSTATION | ENT/AGE BBH NEW YORK | MED CARAT SAN FRANCISCO | PROD.CO. MJZ NEW YORK

USA

A09/046 PERFECT DAY | SONY | PLAYSTATION | ENT/AGE BBH NEW YORK | MED CARAT SAN FRANCISCO | PROD.CO. MJZ NEW YORK

USA

ENT/AG: ENTRANT AGENCY MED: MEDIA AGENCY PROD.CO.: PRODUCTION COMPANY

Film Craft.indd 21

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Whatever your Film, Television or advertising needs. The regions leading production centre - Fox Studios Australia offers an extensive range of state of the art facilities, stages and a convenient location to help you deliver your project on time and on budget.

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or phone +61 2 9383 4134

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LIONS DAILY NEWS

FRIDAY / JUNE 20 / 2014

FILM CRAFT SHORTLIST

A09/051 BOX | BOT & DOLLY | BOT & DOLLY | ENT/AGE BOT & DOLLY SAN FRANCISCO | PROD.CO. BOT & DOLLY SAN FRANCISCO A09/067 DISCOVER THE NEW | VODAFONE | LAUNCH | ENT/AGE ALT.VFX BRISBANE/OGILVY & MATHER SYDNEY | PROD.CO. CURIOUS FILM SYDNEY A09/070 LIFE IN EVERY PIXEL | SAMSUNG ELECTRONICS | SAMSUNG OLED SMART TV | ENT/AGE CHEIL UK LONDON | PROD.CO. QUAD PRODUCTIONS CLICHY

23

USA AUSTRALIA UNITED KINGDOM

ANIMATION A10/030 BEAR & HARE | JOHN LEWIS | CHRISTMAS | ENT/AGE ADAM&EVEDDB LONDON | MED MANNING GOTTLIEB OMD LONDON | PROD.CO. BLINKINK LONDON/HORNET NEW YORK A10/075 THE GLASS CAR | JOHNNIE WALKER | NEVER DRINK & DRIVE | ENT/AGE IRIS WORLDWIDE SINGAPORE | PROD.CO. THE OTHER SIDE CREATIVE LONDON A10/110 THE SCARECROW | CHIPOTLE MEXICAN GRILL | FAST CASUAL DINING | ENT/AGE CREATIVE ARTISTS AGENCY LOS ANGELES | PROD.CO. MOONBOT STUDIOS SHREVEPORT A10/128 PENS | AMNESTY INTERNATIONAL | AMNESTY INTERNATIONAL | ENT/AGE TROUBLEMAKERS.TV PARIS/TBWA\PARIS | PROD.CO. TROUBLEMAKERS.TV PARIS A10/140 SQUIRREL | DIAGEO | SMITHWICK’S | ENT/AGE THE MILL LONDON/ADAM&EVEDDB LONDON | PROD.CO. GORGEOUS LONDON

UNITED KINGDOM SINGAPORE USA FRANCE UNITED KINGDOM

CASTING A11/015 SAPEURS | DIAGEO | GUINNESS | ENT/AGE AMV BBDO LONDON | MED CARAT LONDON | PROD.CO. MJZ LONDON LONDON A11/028 MUSIC | MOTOROLA | MOTO X | ENT/AGE DROGA5 NEW YORK | PROD.CO. FURLINED LOS ANGELES/CUT+RUN NEW YORK/THE MILL NEW YORK A11/040 BLAZED | NEW ZEALAND TRANSPORT AGENCY | DRUG DRIVING | ENT/AGE CURIOUS FILM AUCKLAND/CLEMENGER BBDO WELLINGTON | PROD.CO. CURIOUS FILM AUCKLAND A11/048 PREGNANCY | NIMBLE | LOAN SERVICE | ENT/AGE THE SWEET SHOP LONDON/PROXIMITY BRISBANE /COLENSO BBDO AUCKLAND | MED M2M SYDNEY | PROD.CO. THE SWEET SHOP MELBOURNE A11/051 THE EPIC SPLIT | VOLVO TRUCKS | THE NEW VOLVO FM | ENT/AGE FORSMAN & BODENFORS GOTHENBURG | PROD.CO. FOLKE STOCKHOLM A11/068 ALMOST IDENTICAL | MONDELEZ INTERNATIONAL | BELDENT INFINIT | ENT/AGE DEL CAMPO SAATCHI & SAATCHI BUENOS AIRES | PROD.CO. AGOSTO BUENOS AIRES

UNITED KINGDOM USA NEW ZEALAND UNITED KINGDOM SWEDEN ARGENTINA

A11/070 HALLOWEEN TREATS GONE WRONG | P&G | CREST & ORAL B | ENT/AGE PUBLICIS KAPLAN THALER NEW YORK | PROD.CO. TOOL OF NORTH AMERICA SANTA MONICA

USA

A11/092 UNCONDITIONAL LOVE - GIRLS | HBO GO | HBO GO | ENT/AGE O POSITIVE FILMS NEW YORK/SS+K NEW YORK | PROD.CO. O POSITIVE FILMS NEW YORK

USA

A11/093 WHAT’S HE IN - GAME OF THRONES | HBO GO | HBO GO | ENT/AGE O POSITIVE FILMS NEW YORK/SS+K NEW YORK | PROD.CO. O POSITIVE FILMS NEW YORK

USA

A11/094 YOUR CHOICE - GIRLS | HBO GO | HBO GO | ENT/AGE O POSITIVE FILMS NEW YORK/SS+K NEW YORK | PROD.CO. O POSITIVE FILMS NEW YORK

USA

A11/095 HAPPILY MARRIED - CURB YOUR ENTHUSIASM | HBO GO | HBO GO | ENT/AGE O POSITIVE FILMS NEW YORK/SS+K NEW YORK | PROD.CO. O POSITIVE FILMS NEW YORK A11/147 FIRST FLIGHT | VODAFONE GLOBAL | BRAND COMMUNICATIONS | ENT/AGE AKQA LONDON | MED VICE LONDON | PROD.CO.

USA UNITED KINGDOM

A11/175 THE POWER INSIDE: EPSIODE 1 | INTEL + TOSHIBA | TOSHIBA LAPTOP WITH INTEL INSIDE | ENT/AGE PEREIRA & O’DELL SAN FRANCISCO | PROD.CO. FURLINED LOS ANGELES/TOOL LOS ANGELES/ZOIC STUDIOS LOS ANGELES

USA

A11/176 THE POWER INSIDE: EPISODE 2 | INTEL + TOSHIBA | TOSHIBA LAPTOP WITH INTEL INSIDE | ENT/AGE PEREIRA & O’DELL SAN FRANCISCO | PROD.CO. FURLINED LOS ANGELES/TOOL LOS ANGELES/ZOIC STUDIOS LOS ANGELES

USA

A11/177 THE POWER INSIDE - EPISODE 3 | INTEL + TOSHIBA | TOSHIBA LAPTOP WITH INTEL INSIDE | ENT/AGE PEREIRA & O’DELL SAN FRANCISCO | PROD.CO. FURLINED LOS ANGELES/TOOL LOS ANGELES/ZOIC STUDIOS LOS ANGELES

USA

A11/178 THE POWER INSIDE - EPISODE 4 | INTEL + TOSHIBA | TOSHIBA LAPTOP WITH INTEL INSIDE | ENT/AGE PEREIRA & O’DELL SAN FRANCISCO | PROD.CO. FURLINED LOS ANGELES/TOOL LOS ANGELES,/ZOIC STUDIOS LOS ANGELES

USA

A11/179 THE POWER INSIDE: EPISODE 5 | INTEL + TOSHIBA | TOSHIBA LAPTOP WITH INTEL INSIDE | ENT/AGE PEREIRA & O’DELL SAN FRANCISCO | PROD.CO. FURLINED LOS ANGELES/TOOL LOS ANGELES, CA/ZOIC STUDIOS LOS ANGELES

USA

A11/180 THE POWER INSIDE: EPISODE 6 | INTEL + TOSHIBA | TOSHIBA LAPTOP WITH INTEL INSIDE | ENT/AGE PEREIRA & O’DELL SAN FRANCISCO | PROD.CO. FURLINED LOS ANGELES/TOOL LOS ANGELES/ZOIC STUDIOS LOS ANGELES

USA

ENT/AG: ENTRANT AGENCY MED: MEDIA AGENCY PROD.CO.: PRODUCTION COMPANY

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Film Craft.indd 23

20/06/2014 00:42

D6-AD.indd 24

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LIONS DAILY NEWS

FRIDAY/JUNE 20/2014

FILM SHORTLIST

25

FILM SHORTLIST SAVOURY FOODS A01/009 ADVENTURE AWAITS | ARLA FOODS | COOK’S RANGE | ENT/AGE WIEDEN+KENNEDY LONDON | PROD.CO. BLINK PRODUCTIONS LONDON/MPC LONDON/WAVE STUDIOS LONDON

UNITED KINGDOM

A01/010 RESCUE | UNILEVER | MARMITE | ENT/AGE ADAM&EVEDDB LONDON | MED MINDSHARE LONDON | PROD.CO. OUTSIDER LONDON

UNITED KINGDOM

A01/044 GOOD MORNING BACON | PRIMO SMALLGOODS | SMALLGOODS | ENT/AGE OGILVY & MATHER SYDNEY | MED NEO@OGILVY ST LEONARDS | PROD.CO. CURIOUS FILM SYDNEY A01/049 SCHWARTZ - THE SOUND OF TASTE | SCHWARTZ | SCHWARTZ FLAVOUR SHOTS | ENT/AGE GREY LONDON | MED STARCOM MEDIAVEST GROUP LONDON | PROD.CO. PARTIZAN LONDON A01/052 LONG LIFE | CAMPOFRIO | CUIDAT+ | ENT/AGE MCCANN MADRID MADRID | MED ZENITH MADRID | PROD.CO. LEE FILMS MADRID A02/027 COMB OVER | JELLO | JELLO | ENT/AGE CP+B BOULDER | PROD.CO. SMITH AND JONES FILMS LOS ANGELES A02/060 MEDITATION | KRISPY KERNELS | MIXED NUTS | ENT/AGE LG2 QUÉBEC | MED TOUCHE! PHD MONTRÉAL | PROD.CO. NOVA FILM QUEBEC

AUSTRALIA UNITED KINGDOM SPAIN USA CANADA

A02/077 HAIRSPRAY | MARS CHOCOLATE NORTH AMERICA | MARS BITES | ENT/AGE BBDO NEW YORK | PROD.CO. O POSITIVE FILMS NEW YORK

USA

A02/091 SMILE | MARS, INC. | SKITTLES | ENT/AGE DDB CHICAGO | MED STARCOM MEDIAVEST GROUP CHICAGO | PROD.CO. SMUGGLER LOS ANGELES/WHITEHOUSE POST CHICAGO/FILMWORKERS CLUB CHICAGO

USA

A02/092 CLOUD | MARS, INC. | SKITTLES | ENT/AGE DDB CHICAGO | MED STARCOM MEDIAVEST GROUP CHICAGO | PROD.CO. GORGEOUS INC LOS ANGELES/WHITEHOUSE POST CHICAGO/THE MILL LOS ANGELES

USA

A02/093 GROOMER | MARS, INC. | SKITTLES | ENT/AGE DDB CHICAGO | MED STARCOM MEDIAVEST GROUP CHICAGO | PROD.CO. GORGEOUS INC LOS ANGELES/WHITEHOUSE POST CHICAGO/THE MILL LOS ANGELES

USA

A02/094 VET | MARS, INC. | SKITTLES | ENT/AGE DDB CHICAGO | MED STARCOM MEDIAVEST GROUP CHICAGO | PROD.CO. GORGEOUS INC LOS ANGELES/WHITEHOUSE POST CHICAGO/THE MILL LOS ANGELES

USA

ALCOHOLIC DRINKS A03/003 SAPEURS | DIAGEO | GUINNESS | ENT/AGE AMV BBDO LONDON | MED CARAT LONDON | PROD.CO. MJZ LONDON LONDON A03/018 HANDBALL | HEINEKEN | DOS EQUIS | ENT/AGE HAVAS WORLDWIDE NEW YORK | PROD.CO. OUTSIDE EDIT + DESIGN NEW YORK A03/019 DOGSLED | HEINEKEN | DOS EQUIS | ENT/AGE HAVAS WORLDWIDE NEW YORK | PROD.CO. RADICAL MEDIA LOS ANGELES A03/025 THE ODYSSEY | HEINEKEN | HEINEKEN | ENT/AGE WIEDEN+KENNEDY AMSTERDAM | MED STARCOM MEDIAVEST GROUP AMSTERDAM | PROD.CO. MJZ LONDON LONDON A03/047 BOWLING ALLEY | MARK ANTHONY BRANDS, INC. | MIKE’S HARD LEMONADE | ENT/AGE MJZ LOS ANGELES/GREY NEW YORK | PROD.CO. MJZ LOS ANGELES

UNITED KINGDOM USA USA THE NETHERLANDS USA

A03/051 HURRICANE LAURA | ABINBEV | ANDES BEER | ENT/AGE DEL CAMPO SAATCHI & SAATCHI BUENOS AIRES | PROD.CO. REBOLUCION BUENOS AIRES

ARGENTINA

A03/052 HURRICANE MARTHA | ABINBEV | ANDES BEER | ENT/AGE DEL CAMPO SAATCHI & SAATCHI BUENOS AIRES | PROD.CO. REBOLUCION BUENOS AIRES

ARGENTINA

A03/076 THE SEARCH | LION | TAP KING | ENT/AGE BMF SYDNEY | MED ZENITHOPTIMEDIA SYDNEY | PROD.CO. REVOLVER/WILL O’ROURKE SYDNEY

AUSTRALIA

A03/094 SHAMPOO | SOUTHERN COMFORT | SOUTHERN COMFORT | ENT/AGE WIEDEN+KENNEDY NEW YORK | MED UM NEW YORK | PROD.CO. BISCUIT FILMWORKS LOS ANGELES A03/096 KARATE | SOUTHERN COMFORT | SOUTHERN COMFORT | ENT/AGE WIEDEN+KENNEDY NEW YORK | MED UM NEW YORK | PROD.CO. BISCUIT FILMWORKS LOS ANGELES A03/099 WHY NOT MAN | HEINEKEN INTERNATIONAL | HEINEKEN LIGHT | ENT/AGE PUBLICIS ITALY MILAN | MED STARCOM MEDIAVEST GROUP AMSTERDAM | PROD.CO. STINK LONDON

USA USA ITALY

ENT/AG: ENTRANT AGENCY MED: MEDIA AGENCY PROD.CO.: PRODUCTION COMPANY

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LabhouseLions2104.pdf

1

6/16/14

12:24 PM

You create. We do it.

Production services in Argentina, Uruguay & Chile. www.labhouse.tv D6-AD.indd 26

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LIONS DAILY NEWS

FRIDAY/JUNE 20/2014

FILM SHORTLIST

27

NON-ALCOHOLIC DRINKS A04/022 JUDO CHAMPION | CAMPINA | MILK | ENT/AGE TBWA\NEBOKO AMSTERDAM | PROD.CO. PINK RABBIT AMSTERDAM A04/032 DON’T DRINK AND DRIVE | STAR | SOGNI D’ORO | ENT/AGE DLV BBDO MILAN | PROD.CO. FILMGOOD SERRAVALLE A04/045 ANNOUNCEMENTS | PEPSICO ARGENTINA | H2OH! | ENT/AGE BBDO ARGENTINA BUENOS AIRES | MED PHD ARGENTINA BUENOS AIRES | PROD.CO. ARGENTINACINE BUENOS AIRES A04/057 ROCKETS | PEPSI-COLA COMPANY | MOUNTAIN DEW KICKSTART | ENT/AGE BBDO NEW YORK | PROD.CO. MJZ NEW YORK A04/065 CAT LADY | MURRAY GOULBURN CO OPERATIVE LTD | DEVONDALE LONG LIFE MILK | ENT/AGE DDB GROUP MELBOURNE | PROD.CO. PRODIGY SYDNEY

THE NETHERLANDS ITALY ARGENTINA USA AUSTRALIA

A04/073 THE TEACHER | MURRAY GOULBURN CO OPERATIVE LTD | DEVONDALE SMOOTHIES | ENT/AGE DDB GROUP MELBOURNE | PROD.CO. EXIT FILMS MELBOURNE

AUSTRALIA

A04/079 PARENTS | COCA-COLA COMPANY | COCA-COLA LIFE | ENT/AGE SANTO BUENOS AIRES | PROD.CO. BLUE BUENOS AIRES

ARGENTINA

HOUSEHOLD A05/003 THE DAY I VISITED MY SON - A TRUE STORY | UNILEVER | COMFORT | ENT/AGE OGILVY & MATHER SINGAPORE | PROD.CO. COLLIDER SYDNEY A05/008 REFRESHING COLOURS | SPOTLESS | HOUSEHOLD PRODUCTS | ENT/AGE HEREZIE PARIS | PROD.CO. HENRY DE CZAR PARIS A05/020 PIG | UNILEVER | SUNLIGHT/DISHWASHER DETERGENTS | ENT/AGE LOWE BANGKOK | PROD.CO. DIRECTOR’S THINK TANK KUALA LUMPUR A05/025 HOSPITAL | PROCTER & GAMBLE | MAGISTRAL | ENT/AGE GREY ARGENTINA BUENOS AIRES | PROD.CO. REBOLUCION BUENOS AIRES A05/026 10 YEARS WITH YOU AND LED. | TOSHIBA CORPORATION | LED CEILING LIGHT | ENT/AGE DENTSU TOKYO | PROD.CO. SUN-AD COMPANY TOKYO

SINGAPORE FRANCE THAILAND ARGENTINA JAPAN

HOME APPLIANCES & FURNISHINGS A06/012 VIBRATION FREE WASHING | SAMSUNG ELECTRONICS AUSTRIA | WASHING MACHINE | ENT/AGE TRAKTOR WIEN VIENNA | PROD.CO. WARDA NETWORK VIENNA

AUSTRIA

A06/026 NO ENTRANCE | MOBOTIX SECURITY SYSTEMS | SECURITY SYSTEMS | ENT/AGE TBWA\ISTANBUL | PROD.CO. ANIMA ISTANBUL

TURKEY

TOILETRIES, COSMETICS & BEAUTY A07/009 MOMSONG | OLD SPICE | PERSONAL CARE | ENT/AGE WIEDEN+KENNEDY PORTLAND | PROD.CO. MJZ LOS ANGELES

USA

A07/010 TREE | OLD SPICE | PERSONAL CARE | ENT/AGE WIEDEN+KENNEDY PORTLAND | PROD.CO. MJZ LOS ANGELES

USA

A07/011 BOWL | OLD SPICE | PERSONAL CARE | ENT/AGE WIEDEN+KENNEDY PORTLAND | PROD.CO. MJZ LOS ANGELES A07/016 LA DONNA | UNILEVER | AXE | ENT/AGE PONCE BUENOS AIRES | PROD.CO. MJZ LOS ANGELES/LABHOUSE BUENOS AIRES

USA ARGENTINA

A07/028 MEETING | OLD SPICE | PERSONAL CARE | ENT/AGE WIEDEN+KENNEDY PORTLAND | PROD.CO. MJZ LOS ANGELES

USA

A07/029 BOARDWALK | OLD SPICE | PERSONAL CARE | ENT/AGE WIEDEN+KENNEDY PORTLAND | PROD.CO. MJZ LOS ANGELES

USA

PHARMACY A08/011 THE GREAT ESCAPE | SIGMA TAU | YOVIS VIAGGIO | ENT/AGE BEDESCHI FILM MILAN/PUBLICIS ITALY MILAN | MED MEC ROME | PROD.CO. BEDESCHI FILM MILAN A08/038 DIALOGUE 2 | BOEHRINGER INGELHEIM DO BRASIL | ANADOR | ENT/AGE BORGHI/LOWE SÃO PAULO | PROD.CO. CINE CINEMATOGRAFICA SÃO PAULO/SAXSOFUNNY SÃO PAULO

ITALY BRAZIL

CLOTHING, FOOTWEAR & ACCESSORIES A09/001 THE BIG LEAP | LACOSTE | LACOSTE | ENT/AGE BETC PARIS | PROD.CO. WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX

FRANCE

A09/009 MADE FROM COOL - MAKING THE CUT | JACK & JONES | CLOTHING | ENT/AGE & CO. COPENHAGEN | MED OMD COPENHAGEN | PROD.CO. BACON COPENHAGEN

DENMARK

A09/010 MADE FROM COOL - SEWING IT UP | JACK & JONES | CLOTHING | ENT/AGE & CO. COPENHAGEN | MED OMD COPENHAGEN | PROD.CO. BACON COPENHAGEN

DENMARK

A09/023 MAKE EVERY YARD COUNT | NIKE | NIKE CRICKET | ENT/AGE JWT INDIA BANGALORE | MED MINDSHARE BANGALORE | PROD.CO. 1ST DECEMBER FILMS BANGALORE A09/037 POSSIBILITIES | NIKE | ATHLETIC FOOTWEAR AND APPAREL | ENT/AGE WIEDEN+KENNEDY PORTLAND | PROD.CO. MJZ LOS ANGELES/ROCK PAPER SCISSORS LOS ANGELES/A52 LOS ANGELES

INDIA USA

MISCELLANEOUS A10/012 WE HAVE TO TALK | MARS MEXICO/PEDIGREE | BRAND | ENT/AGE BBDO MEXICO | PROD.CO. CENTRAL FILMS MEXICO CITY

MEXICO

ENT/AG: ENTRANT AGENCY MED: MEDIA AGENCY PROD.CO.: PRODUCTION COMPANY

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CARS A11/015 HONDA ILLUSIONS | HONDA | HONDA CR-V | ENT/AGE MCGARRYBOWEN LONDON | MED STARCOM MEDIAVEST GROUP LONDON | PROD.CO. GORGEOUS LONDON/THE MILL LONDON

UNITED KINGDOM

A11/025 PARACHUTE | VOLKSWAGEN | CAR | ENT/AGE ADAM&EVEDDB LONDON | MED MEDIACOM LONDON | PROD.CO. OUTSIDER LONDON

UNITED KINGDOM

A11/026 ROPE | VOLKSWAGEN | CAR | ENT/AGE ADAM&EVEDDB LONDON | MED MEDIACOM LONDON | PROD.CO. OUTSIDER LONDON

UNITED KINGDOM

A11/027 CAGE | VOLKSWAGEN | CAR | ENT/AGE ADAM&EVEDDB LONDON | MED MEDIACOM LONDON | PROD.CO. OUTSIDER LONDON

UNITED KINGDOM

A11/059 DODGE DURANGO | RON BURGUNDY | IT COMES STANDARD | DODGE | 2014 DODGE DURANGO | ENT/AGE CAVIAR LA/WIEDEN+KENNEDY PORTLAND | PROD.CO. CAVIAR LOS ANGELES/GIFTED YOUTH LA/FUNNY OR DIE LA

USA

A11/060 DODGE DURANGO | RON BURGUNDY | SCHOOL | DODGE | 2014 DODGE DURANGO | ENT/AGE CAVIAR LOS ANGELES/WIEDEN+KENNEDY PORTLAND | PROD.CO. CAVIAR LA/GIFTED YOUTH LA,/FUNNY OR DIE LA

USA

A11/061 DODGE DURANGO | RON BURGUNDY | BALLROOM DANCERS | DODGE | 2014 DODGE DURANGO | ENT/AGE CAVIAR LOS ANGELES/WIEDEN+KENNEDY PORTLAND | PROD.CO. CAVIAR LA/GIFTED YOUTH LA/FUNNY OR DIE LA A11/063 KOMBI LAST WISHES | VOLKSWAGEN DO BRASIL | VOLKSWAGEN BUS | ENT/AGE ALMAPBBDO SÃO PAULO | PROD.CO. SPRAY FILMES SÃO PAULO A11/085 GTD: ICE CREAM | VOLKSWAGEN CANADA | AUTOMOTIVE | ENT/AGE RED URBAN TORONTO | PROD.CO. UNTITLED FILMS TORONTO/ROOSTER POST PRODUCTION TORONTO/EGGPLANT COLLECTIVE TORONTO A11/087 TEDDY TRAGEDY | VOLKSWAGEN | AUTOMATIC DISTANCE CONTROL | ENT/AGE ADAM&EVEDDB LONDON | PROD.CO. MOVIE MAGIC INTERNATIONAL MILAN A11/088 CHICKEN | DAIMLER | MERCEDES-BENZ | ENT/AGE JUNG VON MATT STUTTGART | PROD.CO. BIGFISH FILMPRODUKTION BERLIN

USA BRAZIL CANADA UNITED KINGDOM GERMANY

A11/138 FIAT 500 CULT | FIAT GROUP | FIAT 500 CAR | ENT/AGE LEO BURNETT MILAN | PROD.CO. ALTOVERBANO MILAN

ITALY

A11/139 AMERICA’S IMPORT | FIAT CHRYSLER AUTOMOBILES | CHRYSLER 200 | ENT/AGE GLOBALHUE SOUTHFIELD | MED UM BIRMINGHAM | PROD.CO. CAVIAR LOS ANGELES A11/152 DADDY | CITROËN | CAR | ENT/AGE LES GAULOIS PUTEAUX | MED HAVAS MEDIA PUTEAUX | PROD.CO. WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX A11/162 FEELING CAREFREE | VOLKSWAGEN | VOLKSWAGEN | ENT/AGE DEUTSCH LOS ANGELES | MED MEDIACOM NEW YORK | PROD.CO. O POSITIVE FILMS NEW YORK

USA FRANCE USA

OTHER VEHICLES, AUTO PRODUCTS & SERVICES A12/007 CAR CRUSHER | FIAT | NOVO FIORINO | ENT/AGE LEO BURNETT TAILOR MADE SÃO PAULO | PROD.CO. ZOLA SÃO PAULO

BRAZIL

A12/022 ALL ALONE | TOTAL | TOTAL ACCESS | ENT/AGE CLM BBDO BOULOGNE-BILLANCOURT | MED VIZEUM PARIS | PROD.CO. LES TÉLÉCRÉATEURS PARIS

FRANCE

A12/025 PLASTIC CONTAINER | CAR ONE | CAR DEALER | ENT/AGE LEO BURNETT ARGENTINA BUENOS AIRES | PROD.CO. ARGENTINACINE BUENOS AIRES

ARGENTINA

A12/026 FAN | CAR ONE | CAR DEALER | ENT/AGE LEO BURNETT ARGENTINA BUENOS AIRES | PROD.CO. ARGENTINACINE BUENOS AIRES

ARGENTINA

HOME ELECTRONICS & AUDIO-VISUAL A13/028 EVOLUTION | SAMSUNG TELECOMMUNICATIONS AMERICA | GALAXY GEAR | ENT/AGE 72ANDSUNNY LOS ANGELES, CA | MED STARCOM MEDIAVEST GROUP NEW YORK | PROD.CO. FURLINED LOS ANGELES

USA

RETAIL STORES A14/005 THE HORNBACH HAMMER | HORNBACH | DIY/HOME IMPROVEMENT SUPERSTORES | ENT/AGE HEIMAT BERLIN | MED CROSSMEDIA DÜSSELDORF | PROD.CO. BIGFISH FILMPRODUKTION BERLIN A14/024 VIEWMASTER | KOL KID | KOL KID | ENT/AGE TRIBAL DDB TORONTO | PROD.CO. CODE FILM TORONTO

GERMANY CANADA

A14/026 THE WORLD NEEDS BETTER TECHNOLOGY - SPORTSBAR | MEDIA-SATURN-HOLDING | SEASONAL CAMPAIN 2013 | ENT/AGE SCHOLZ & FRIENDS BERLIN | PROD.CO. CZAR BERLIN A14/029 ALL IS RIGHT | FOOT LOCKER | FOOT LOCKER | ENT/AGE BBDO NEW YORK | PROD.CO. O POSITIVE FILMS NEW YORK

GERMANY USA

A14/036 BEAR & HARE | JOHN LEWIS | CHRISTMAS | ENT/AGE ADAM&EVEDDB LONDON | MED MANNING GOTTLIEB OMD LONDON | PROD.CO. BLINK PRODUCTIONS LONDON

UNITED KINGDOM

A14/037 SORRY I SPENT IT ON MYSELF | HARVEY NICHOLS | CHRISTMAS | ENT/AGE ADAM&EVEDDB LONDON | MED PHD LONDON | PROD.CO. OUTSIDER LONDON

UNITED KINGDOM

A14/042 THE SECOND HAND CAMPAIGN - SOFA | IKEA | FURNITURE | ENT/AGE SMFB OSLO | MED MEDIACOM OSLO | PROD.CO. ANIMASJONSDEPARTEMENTET OSLO/FACTORY OSLO/VERDENS STERKESTE MANN OSLO

NORWAY

A14/043 THE SECOND HAND CAMPAIGN - CABINET | IKEA | FURNITURE | ENT/AGE SMFB OSLO | MED MEDIACOM OSLO | PROD.CO. ANIMASJONSDEPARTEMENTET OSLO/FACTORY OSLO/VERDENS STERKESTE MANN OSLO

NORWAY

A14/044 THE SECOND HAND CAMPAIGN - CHAIRS | IKEA | FURNITURE | ENT/AGE SMFB OSLO | MED MEDIACOM OSLO | PROD.CO. ANIMASJONSDEPARTEMENTET OSLO/FACTORY OSLO/VERDENS STERKESTE MANN OSLO

NORWAY

A14/061 THE SUN ISN’T WHAT THEY SAY IT IS | VISIONLAB | OPTICAL BRAND | ENT/AGE LOLA MADRID | PROD.CO. BLUR PRODUCCIONES MADRID

SPAIN

ENT/AG: ENTRANT AGENCY MED: MEDIA AGENCY PROD.CO.: PRODUCTION COMPANY

COMMERCIAL M U N I C H . LO S A N G E L E S . B E R L I N . www.trixter-commercial.de

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FILM IN SCOTLAND

FOR THE PERFECT LOCATION For a fast, free, confidential location-finding service, award-winning production companies, experienced crew and great facilities, contact us today.

www.creativescotlandlocations.com E locations@creativescotland.com T +44 (0) 141 302 1723/35 Grangemouth oil refinery. Photo: Alex Helin

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31

FILM SHORTLIST

RETAIL STORES A14/062 WHATSUP | VISIONLAB | OPTICAL BRAND | ENT/AGE LOLA MADRID | PROD.CO. BLUR PRODUCCIONES MADRID

SPAIN

A14/063 SUNSET | VISIONLAB | OPTICAL BRAND | ENT/AGE LOLA MADRID | PROD.CO. BLUR PRODUCCIONES MADRID

SPAIN

A14/073 DENTIST | EPIC COMPANIES | ONLINE SHOP | ENT/AGE SCHOLZ & FRIENDS BERLIN | PROD.CO. CZAR BERLIN

GERMANY

A14/074 BEDROOM | EPIC COMPANIES | ONLINE SHOP | ENT/AGE SCHOLZ & FRIENDS BERLIN | PROD.CO. CZAR BERLIN

GERMANY

A14/075 THE PERFECT DAUGHTER | PROMART HOMECENTER | DYS RETAIL STORE | ENT/AGE FAHRENHEIT DDB LIMA | PROD.CO. REBECA LIMA

PERU

A14/078 CHRISTMAS IN A DAY | SAINSBURY’S SUPERMARKETS | SUPERMARKET | ENT/AGE AMV BBDO LONDON | MED VIZEUM LONDON | PROD.CO. RSA FILMS LONDON

UNITED KINGDOM

A14/094 BOB | HALFORDS | WE FIT | ENT/AGE MOTHER LONDON | MED WALKER MEDIA LONDON | PROD.CO. BLINK PRODUCTIONS LONDON

UNITED KINGDOM

A14/095 NEEDLES | HALFORDS | WE FIT | ENT/AGE MOTHER LONDON | MED WALKER MEDIA LONDON | PROD.CO. BLINK PRODUCTIONS LONDON

UNITED KINGDOM

A14/114 PROPOSAL | IPIRANGA PRODUTOS DE PETROLEO SA | 24 HOUR CONVENIENCE STORE/FAST FOOD | ENT/AGE TALENT SÃO PAULO | PROD.CO. PRODIGO FILMS SÃO PAULO

BRAZIL

A14/132 TV START SOMETHING NEW | IKEA | IKEA | ENT/AGE S,C,P,F BARCELONA | PROD.CO. ALBERT BARCELONA/GARLIC FILMS MADRID

SPAIN

A14/143 CARROT | WAITROSE | WAITROSE BRAND | ENT/AGE BBH LONDON | MED MANNING GOTTLIEB OMD LONDON | PROD.CO. PARK PICTURES LONDON

UNITED KINGDOM

RESTAURANTS & FAST FOOD A15/013 PARACHUTE | MCDONALDS | BURGERS | ENT/AGE TBWA\NEBOKO AMSTERDAM | PROD.CO. PINK RABBIT AMSTERDAM

THE NETHERLANDS

A15/029 CAST | LITTLE CAESARS | FAST FOOD PIZZA | ENT/AGE BARTON F. GRAF 9000 NEW YORK | MED HORIZON MEDIA NEW YORK | PROD.CO. STATION FILM NEW YORK CITY/MACKENZIE CUTLER NEW YORK/COMPANY 3 NEW YORK

USA

A15/033 GUESS WHO LOVES TACO BELL’S NEW BREAKFAST (RONALD MCDONALD LAUNCH) | TACO BELL | TACO BELL BREAKFAST | ENT/AGE DEUTSCH LOS ANGELES | MED MEC LOS ANGELES | PROD.CO. MOXIE PICTURES LOS ANGELES

USA

A15/034 WAFFLE TACO - GUESS WHO LOVES IT (RONALD MCDONALD) | TACO BELL | TACO BELL BREAKFAST - WAFFLE TACO | ENT/AGE DEUTSCH LOS ANGELES | MED MEC LOS ANGELES | PROD.CO. MOXIE PICTURES LOS ANGELES

USA

A15/035 A.M. CRUNCHWRAP - GUESS WHO LOVES IT (RONALD MCDONALD) | TACO BELL | TACO BELL BREAKFAST - A.M. CRUNCHWRAP | ENT/AGE DEUTSCH LA | MED MEC LA | PROD.CO. MOXIE PICTURES LA

USA

TRAVEL, TRANSPORT & TOURISM A16/001 STORIES ARE WAITING IN PARIS | EUROSTAR | EUROSTAR | ENT/AGE AMV BBDO LONDON | MED ARENA MEDIA LONDON | PROD.CO. HLA LONDON

UNITED KINGDOM

A16/002 STORIES ARE WAITING IN LONDON | EUROSTAR | EUROSTAR | ENT/AGE AMV BBDO LONDON | MED ARENA MEDIA LONDON | PROD.CO. HLA LONDON

UNITED KINGDOM

A16/005 SIMON THE OGRE | TUI TRAVEL UK AND IRELAND | THOMSON HOLIDAYS | ENT/AGE BMB LONDON | MED MEDIACOM LONDON | PROD.CO. REALISE STUDIO LONDON/SONNY LONDON/750MPH LONDON

UNITED KINGDOM

A16/010 FROM MY WINDOW | AIRBNB | SHORT-TERM HOME RENTALS | ENT/AGE PEREIRA & O’DELL SAN FRANCISCO | PROD.CO. TOOL OF NORTH AMERICA SANTA MONICA A16/017 PARIS | EXPEDIA | TRAVEL SERVICES | ENT/AGE Y&R MEXICO | MED STARCOM MEDIAVEST GROUP MEXICO | PROD.CO. CENTRAL FILMS MEXICO CITY

USA MEXICO

A16/044 STAIRLIFT | KAYAK | TRAVEL SEARCH ENGINE | ENT/AGE BARTON F. GRAF 9000 NEW YORK | MED PHD NEW YORK | PROD.CO. STATION FILM NEW YORK/MACKENZIE CUTLER NEW YORK/COMPANY 3 NEW YORK

USA

A16/051 CAPTAIN OBVIOUS | HOTELS.COM | HOTELS.COM | ENT/AGE CP+B BOULDER | PROD.CO. IMPERIAL WOODPECKER NEW YORK

USA

A16/052 OBVIOUS EYE CONTACT | HOTELS.COM | HOTELS.COM | ENT/AGE CP+B BOULDER | PROD.CO. IMPERIAL WOODPECKER NEW YORK

USA

A16/053 OBVIOUS LIES | HOTELS.COM | HOTELS.COM | ENT/AGE CP+B BOULDER | PROD.CO. IMPERIAL WOODPECKER NEW YORK

USA

A16/056 LANDING | AEROLINEAS ARGENTINAS | AIRLINE | ENT/AGE MADRE BUENOS AIRES | PROD.CO. AGOSTO BUENOS AIRES/PIKLE BUENOS AIRES/BIG LAZY ROBOT BARCELONA

ARGENTINA

A16/057 NIGHT FLIGHT | AEROLINEAS ARGENTINAS | AIRLINE | ENT/AGE MADRE BUENOS AIRES | PROD.CO. AGOSTO BUENOS AIRES/PIKLE BUENOS AIRES/BIG LAZY ROBOT BARCELONA

ARGENTINA

A16/058 TAKE OFF | AEROLINEAS ARGENTINAS | AIRLINE | ENT/AGE MADRE BUENOS AIRES | MED MEDIA STRATEGY BUENOS AIRES | PROD.CO. AGOSTO BUENOS AIRES

ARGENTINA

A16/065 VOICES | AMTRAK | ACELA EXPRESS | ENT/AGE FCB GARFINKEL NEW YORK/FCB GARFINKEL NEW YORK | MED INITIATIVE NEW YORK | PROD.CO. BOXER FILMS LOS ANGELES

USA

ENT/AG: ENTRANT AGENCY MED: MEDIA AGENCY PROD.CO.: PRODUCTION COMPANY

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FILM SHORTLIST

FRIDAY/JUNE 20/2014

LIONS DAILY NEWS

ENTERTAINMENT & LEISURE A17/010 THE MIRACLE | ESTE’N’EST | ANIM’EST | ENT/AGE OGILVY&MATHER ROMANIA BUCHAREST | MED MINDSHARE BUCHAREST | PROD.CO. ABIS STUDIO BUCHAREST

ROMANIA

A17/024 GREATNESS AWAITS | SONY | PLAYSTATION | ENT/AGE BBH NEW YORK | MED CARAT SAN FRANCISCO | PROD.CO. MJZ NEW YORK

USA

A17/025 PERFECT DAY | SONY | PLAYSTATION | ENT/AGE BBH NEW YORK | MED CARAT SAN FRANCISCO | PROD.CO. MJZ NEW YORK A17/036 BEST EXTRA | CANADIAN FILM FEST | CANADIAN FILM FEST | ENT/AGE JWT TORONTO | PROD.CO. STEAM FILMS TORONTO

USA CANADA

A17/040 COVERT | NIKE GOLF | SPORTS EQUIPMENT | ENT/AGE BISCUIT FILMWORKS LOS ANGELES/WIEDEN+KENNEDY PORTLAND | PROD.CO. BISCUIT FILMWORKS LOS ANGELES

USA

A17/052 PEOPLE’S DREAMS | LOTERÍAS Y APUESTAS DEL ESTADO - SPANISH LOTTERY | LA PRIMITIVA LOTTERY | ENT/AGE PUBLICIS COMUNICACIÓN ESPAÑA MADRID | MED OPTIMEDIA MADRID | PROD.CO. IGLOO FILMS MADRID A17/053 PRIDE HEART | QUEER LISBOA | QUEER LISBOA | ENT/AGE FUEL LISBON | PROD.CO. SYNC LISBON A17/054 THE FAKE TRAILER | THEATRE DE LA BASTILLE | LIVE THEATER | ENT/AGE LEO BURNETT FRANCE PARIS | PROD.CO. BLUE FILM PRODUCTION PARIS

SPAIN PORTUGAL FRANCE

A17/067 ROBOCOP | CONSULATE GENERAL OF ARGENTINA IN LOS ANGELES | ARGENTINA NEW CINEMA FILM FESTIVAL | ENT/AGE CONILL SAATCHI & SAATCHI TORRANCE/CONILL ADVERTISING EL SEGUNDO | PROD.CO. PARANA FILMS LA A17/084 THE LAST OF US | SONY COMPUTER ENTERTAINMENT EUROPE | PLAYSTATION 4 | ENT/AGE 180 AMSTERDAM | PROD.CO. MINIVEGAS AMSTERDAM

USA THE NETHERLANDS

A17/098 WRITER | SPANISH NATIONAL LOTTERY (LOTERÍAS Y APUESTAS DEL ESTADO) | EUROLOTTO | ENT/AGE MCCANN MADRID MADRID | MED ALMA MEDIA MADRID | PROD.CO. GARLIC FILMS MADRID

SPAIN

PUBLICATIONS & MEDIA A18/019 TAKING OUT THE TRASH | LIBERO | FOOTBALL MAGAZINE | ENT/AGE LOLA MADRID | PROD.CO. BLUR PRODUCCIONES MADRID

SPAIN

A18/020 LUNCH WITH YOUR FATHER IN LAW | LIBERO | FOOTBALL MAGAZINE | ENT/AGE LOLA MADRID | PROD.CO. BLUR PRODUCCIONES MADRID

SPAIN

A18/021 RELATIONSHIP | LIBERO | FOOTBALL MAGAZINE | ENT/AGE LOLA MADRID | PROD.CO. BLUR PRODUCCIONES MADRID

SPAIN

A18/022 AB MACHINE | LIBERO | FOOTBALL MAGAZINE | ENT/AGE LOLA MADRID | PROD.CO. BLUR PRODUCCIONES MADRID

SPAIN

A18/027 MEGAGLOVE | THE GUARDIAN AND OBSERVER | THE GUARDIAN AND OBSERVER WEEKEND NEWSPAPERS AND SUPPLEMENT | ENT/AGE BISCUIT FILMWORKS LA/BBH LONDON | PROD.CO. BISCUIT FILMWORKS LOS ANGELES

USA

A18/031 SNUFFY | DISCOVERY | SHARK WEEK | ENT/AGE DISCOVERY CHANNEL SILVER SPRING | PROD.CO. MOCEAN LOS ANGELES

USA

A18/033 EDUCATION | BUSINESS DAY | BUSINESS DAY | ENT/AGE OWENKESSEL LEO BURNETTE JOHANNESBURG | MED APPLIED MEDIA LOGIC JOHANNESBURG | PROD.CO. VELOCITY FILMS CAPE TOWN

SOUTH AFRICA

A18/035 HOUSING | BUSINESS DAY | BUSINESS DAY | ENT/AGE OWENKESSEL LEO BURNETTE JOHANNESBURG | MED APPLIED MEDIA LOGIC JOHANNESBURG | PROD.CO. VELOCITY FILMS CAPE TOWN

SOUTH AFRICA

A18/037 AFTERMATH | GUARDIAN/OBSERVER | DO SOMETHING | ENT/AGE BISCUIT FILMWORKS LOS ANGELES/BBH LONDON | PROD.CO. BISCUIT FILMWORKS LOS ANGELES/BISCUIT FILMWORKS LONDON

USA

A18/043 OBAMA | EITB | RADIO EUSKADI | ENT/AGE DIMENSION SAN SEBASTIAN | MED EITB BILBAO | PROD.CO. DEBOLEX SAN SEBASTIAN/IRUSOIN SAN SEBASTIAN

SPAIN

A18/046 THE WOMAN WHO CAN’T WATCH MOVIES | CANAL+ SPAIN | CANAL+ SPAIN | ENT/AGE FCB SPAIN MADRID | PROD.CO. HELO LOS ANGELES A18/047 MAN DRILL | TMC CONTENT GROUP | BEATE UHSE.TV | ENT/AGE BBDO GERMANY DÜSSELDORF | PROD.CO. DOPPELGAENGER FILM HAMBURG/PIRATES N PARADISE DÜSSELDORF A18/048 BLUE TACKLE | TMC CONTENT GROUP | BEATE UHSE.TV | ENT/AGE BBDO GERMANY DÜSSELDORF | PROD.CO. DOPPELGAENGER FILM HAMBURG/PIRATES N PARADISE DÜSSELDORF A18/076 THE SUNDAY TIMES - ICONS | NEWS UK | NEWSPAPER | ENT/AGE GREY LONDON | MED M/SIX LONDON | PROD.CO. ACADEMY FILMS LONDON

SPAIN GERMANY GERMANY UNITED KINGDOM

A18/081 FREE THE WORDS | TVRAIN OPTIMISTIC CHANNEL | TV FILM | ENT/AGE SKBD.SH MOSCOW | PROD.CO. SKBD.SH MOSCOW A18/086 THE WORLD’S FIRST ALL-LEGO AD BREAK | WARNER BROS. | LEGO MOVIE | ENT/AGE PHD LONDON | MED PHD LONDON | PROD.CO. ITN PROD. LONDON/BRICKSPORTS LEEUWARDEN/BROTHERHOOD WORKSHOP LEEUWARDEN

RUSSIA UNITED KINGDOM

A18/093 LETTER | TYC SPORTS | TYC SPORTS | ENT/AGE Y&R BUENOS AIRES | PROD.CO. SABADO BUENOS AIRES

ARGENTINA

A18/095 REQUIEM | TYC SPORTS | TYC SPORTS | ENT/AGE Y&R BUENOS AIRES | PROD.CO. SABADO BUENOS AIRES

ARGENTINA

A18/103 NATIVE | TIME OUT | TIME OUT MAGAZINE | ENT/AGE DDB MEXICO MEXICO CITY | PROD.CO. THE MAESTROS MEXICO CITY

MEXICO

ENT/AG: ENTRANT AGENCY MED: MEDIA AGENCY PROD.CO.: PRODUCTION COMPANY

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

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LIONS DAILY NEWS

FRIDAY/JUNE 20/2014

FILM SHORTLIST

37

BANKING, INVESTMENT & INSURANCE A19/025 MOVING OUT | LLOYDS BANK | BRAND | ENT/AGE RKCR Y&R LONDON | MED MEC LONDON | PROD.CO. ROGUE FILMS LONDON A19/028 HATS | RAYMOND JAMES FINANCIAL | FINANCIAL ADVISING | ENT/AGE MARTIN WILLIAMS MINNEAPOLIS | PROD.CO. FURLINED LOS ANGELES

UNITED KINGDOM USA

A19/036 PREGNANCY | NIMBLE | SMART LITTLE LOANS | ENT/AGE PROXIMITY BRISBANE/COLENSO BBDO AUCKLAND | PROD.CO. THE SWEET SHOP MELBOURNE

AUSTRALIA

A19/037 VET | NIMBLE | SMART LITTLE LOANS | ENT/AGE PROXIMITY BRISBANE/COLENSO BBDO AUCKLAND | PROD.CO. THE SWEET SHOP MELBOURNE

AUSTRALIA

A19/038 BREAKDOWN | NIMBLE | SMART LITTLE LOANS | ENT/AGE PROXIMITY BRISBANE/COLENSO BBDO AUCKLAND | PROD.CO. THE SWEET SHOP MELBOURNE

AUSTRALIA

A19/097 THE VALUE OF EXPERIENCE | EL CORTE INGLÉS SEGUROS | CAR INSURANCE | ENT/AGE VCCP MADRID | PROD.CO. LA BALLENA DE HOJALATA MADRID

SPAIN

A19/108 TVC - LEO | FUNERAL INSURANCE COMPANY DELA | DELA BRAND | ENT/AGE OGILVY & MATHER AMSTERDAM | MED MEDIAVALUE EINDHOVEN | PROD.CO. WEFILM AMSTERDAM

THE NETHERLANDS

A19/110 TVC - MARK | FUNERAL INSURANCE COMPANY DELA | DELA BRAND | ENT/AGE OGILVY & MATHER AMSTERDAM | MED MEDIAVALUE EINDHOVEN | PROD.CO. WEFILM AMSTERDAM

THE NETHERLANDS

A19/129 UNSUNG HERO | THAI LIFE INSURANCE | THAI LIFE INSURANCE | ENT/AGE OGILVY & MATHER BANGKOK | MED MEDIACOM BANGKOK | PROD.CO. PHENOMENA BANGKOK A19/135 DOCTOR | CORONATION FUND MANAGERS | CORONATION FUND MANAGERS | ENT/AGE NET#WORK BBDO JOHANNESBURG | PROD.CO. STINK LONDON/STERLING SOUND JOHANNESBURG A19/138 DYLAN | ING DIRECT | ING DIRECT | ENT/AGE SRA. RUSHMORE MADRID | MED YMEDIA MADRID | PROD.CO. A19/148 SISTERS REMEET | CEBUANA LHUILLIER | MONEY REMITTANCE | ENT/AGE ACE SAATCHI & SAATCHI MANILA | PROD.CO. FILM EXPERTS MAKATI CITY A20/011 DOUBLE A, THE DOUBLE QUALITY PAPER | DOUBLE A | PAPER | ENT/AGE BUZZMAN PARIS | PROD.CO. HENRY DE CZAR PARIS

THAILAND SOUTH AFRICA SPAIN THE PHILIPPINES FRANCE

COMMERCIAL PUBLIC SERVICES A21/014 COME WITH US | SKY TELEVISION | PAY TV | ENT/AGE DDB GROUP NEW ZEALAND AUCKLAND | PROD.CO. RUSKIN AUCKLAND

NEW ZEALAND

A21/015 SOUP | DIRECTV | DIRECTV | ENT/AGE MJZ LOS ANGELES/GREY NEW YORK | PROD.CO. MJZ LOS ANGELES

USA

A21/016 FISHERMAN | DIRECTV | DIRECTV | ENT/AGE MJZ LOS ANGELES/GREY NEW YORK | PROD.CO. MJZ LOS ANGELES

USA

A21/017 BUTTERFLIES | DIRECTV | DIRECTV | ENT/AGE MJZ LOS ANGELES/GREY NEW YORK | PROD.CO. MJZ LOS ANGELES

USA

A21/050 THE IMPOSSIBLE FAMILY PORTRAIT :60 | SKYPE | VOICE-OVER-IP | ENT/AGE PEREIRA & O’DELL SAN FRANCISCO | PROD.CO. STATION FILM NEW YORK A21/058 CLOSER | LINE PLUS CORPORATION | LINE | ENT/AGE MCCANN WORLDGROUP BANGKOK | PROD.CO. SUNSHINE ETC BANGKOK A21/133 GIVING | REAL MOVE CO. | TRUEMOVE H | ENT/AGE OGILVY & MATHER BANGKOK | PROD.CO. PHENOMENA BANGKOK

USA THAILAND THAILAND

A21/135 BAR | NEXTEL COMMUNICATIONS ARGENTINA | TELECOMMUNICATIONS | ENT/AGE MADRE BUENOS AIRES | MED ZENITHOPTIMEDIA BUENOS AIRES | PROD.CO. LABHOUSE BUENOS AIRES/MJZ LOS ANGELES

ARGENTINA

A21/136 CINEMA | NEXTEL COMMUNICATIONS ARGENTINA | TELECOMMUNICATIONS | ENT/AGE MADRE BUENOS AIRES | MED ZENITHOPTIMEDIA BUENOS AIRES | PROD.CO. LABHOUSE BUENOS AIRES/MJZ LOS ANGELES

ARGENTINA

A21/142 SPAM | TELECOM PERSONAL | ARNET | ENT/AGE SANTO BUENOS AIRES | PROD.CO. ARGENTINACINE BUENOS AIRES A21/147 MISTAKE | FAR EASTONE | FAR EASTONE | ENT/AGE OGILVY & MATHER TAIPEI | PROD.CO. BOKU FILM TAIPEI A21/148 RECOGNITION | FAR EASTONE | FAR EASTONE | ENT/AGE OGILVY & MATHER TAIPEI | PROD.CO. BOKU FILM TAIPEI A21/151 BE MORE DOG LAUNCH | O2 | IT/TELECOMS | ENT/AGE VCCP LONDON | MED ZENITHOPTIMEDIA LONDON | PROD.CO. CAVIAR LONDON A21/154 FATHER | CABLEVISION | CABLEVISION INTERNET | ENT/AGE TRIBAL DDB MEXICO CITY | PROD.CO. THE MAESTROS MEXICO CITY

ARGENTINA CHINESE TAIPEI CHINESE TAIPEI UNITED KINGDOM MEXICO

A21/161 TOO COMPLICATED | DU | TELECOMMUNICATIONS | ENT/AGE LEO BURNETT DUBAI | PROD.CO. DEJA VU DUBAI

UNITED ARAB EMIRATES

A21/163 TOO DEPRESSING | DU | TELECOMMUNICATIONS | ENT/AGE LEO BURNETT DUBAI | PROD.CO. DEJA VU DUBAI

UNITED ARAB EMIRATES

A21/174 BRIEFCASE | FEDEX | FEDEX CUP | ENT/AGE BBDO NEW YORK | PROD.CO. BISCUIT FILMWORKS LOS ANGELES

USA

CORPORATE IMAGE A22/005 WHAT’S YOUR PROBLEM? SPORT DOESN’T CARE (MAIN FILM) | SAMSUNG ELECTRONICS | 2014 SOCHI PARALYMPICS GAMES | ENT/AGE 72ANDSUNNY LOS ANGELES/72ANDSUNNY AMSTERDAM | PROD.CO. SMUGGLER LONDON A22/012 LIFE IS NOT A MARATHON. | RECRUIT HOLDINGS | RECRUIT POINTS | ENT/AGE DENTSU TOKYO | PROD.CO. PADDLE TOKYO

USA JAPAN

A22/014 LOUIE | TD AMERITRADE | TD AMERITRADE | ENT/AGE GOODBY SILVERSTEIN & PARTNERS SAN FRANCISCO | MED MEDIAVEST NEW YORK | PROD.CO. BISCUIT FILMWORKS LOS ANGELES/BIKINI EDIT NEW YORK

USA

A22/019 SPORTS MATTER - BASEBALL | DICK’S SPORTING GOODS | SPORTING GOODS | ENT/AGE ANOMALY NEW YORK | PROD.CO. EPOCH FILMS NEW YORK CITY, NY

USA

A22/020 SPORTS MATTER - LACROSSE | DICK’S SPORTING GOODS | SPORTING GOODS | ENT/AGE ANOMALY NEW YORK | PROD.CO. EPOCH FILMS NEW YORK CITY, NY

USA

A22/023 MISUNDERSTOOD | APPLE | APPLE | ENT/AGE TBWA\MEDIA ARTS LAB LOS ANGELES | MED OMD NEW YORK | PROD.CO. PARK PICTURES LOS ANGELES

USA

A22/037 BAD DOG GOOD DOG | MARS PETCARE | PEDIGREE | ENT/AGE AMV BBDO LONDON | MED ZENITHOPTIMEDIA LONDON | PROD.CO. PULSE FILMS LONDON

UNITED KINGDOM

A22/047 HANDS | HONDA MOTOR EUROPE & HONDA UK | AUTOMOTIVE COMPANY | ENT/AGE WIEDEN+KENNEDY LONDON | PROD.CO. NEXUS PRODUCTIONS LONDON/TRIM EDITING LONDON/FACTORY AND SIREN LONDON

UNITED KINGDOM

A22/074 HANDMA | APSA | ALTO PALERMO SHOPPING CENTER | ENT/AGE Y&R BUENOS AIRES | PROD.CO. REBOLUCION BUENOS AIRES A22/078 THE RIDE | CARLSBERG | CARLSBERG | ENT/AGE SANTO BUENOS AIRES | PROD.CO. MJZ LONDON LONDON A22/081 EXPLOSION | VOLKSWAGEN | FILM SPONSORSHIP | ENT/AGE ADAM&EVEDDB LONDON | MED MEDIACOM LONDON | PROD.CO. THE MOB FILM COMPANY MANCHESTER A22/082 HAPPINESS IS MOVEMENT CARTOON | COCA-COLA | COCA-COLA | ENT/AGE THE CYRANOS MCCANN WORLDGROUP EUROPE BARCELONA | PROD.CO. NEXUS PRODUCTIONS LONDON A22/083 THE SLEEPING SUPPORTER | CITROËN | FRENCH FOOTBALL TEAM SONSORSHIP | ENT/AGE LES GAULOIS PUTEAUX | MED HAVAS MEDIA PUTEAUX | PROD.CO. A22/090 PICK THEM BACK UP | PROCTER & GAMBLE | CONSUMER PACKAGED GOODS | ENT/AGE WIEDEN+KENNEDY PORTLAND | MED CARAT NEW YORK | PROD.CO. PARK PICTURES LOS ANGELES A22/091 TOUGH LOVE | PROCTER & GAMBLE | CONSUMER PACKAGED GOODS | ENT/AGE WIEDEN+KENNEDY PORTLAND | MED CARAT NEW YORK | PROD.CO. JOINT EDITORIAL PORTLAND, OR A22/096 THE SOUL EMBRACE | COCA-COLA | TROPHY TOUR | ENT/AGE DAVID BUENOS AIRES | PROD.CO. REBOLUCION BUENOS AIRES

ARGENTINA ARGENTINA UNITED KINGDOM SPAIN FRANCE USA USA ARGENTINA

ENT/AG: ENTRANT AGENCY MED: MEDIA AGENCY PROD.CO.: PRODUCTION COMPANY

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FILM SHORTLIST

PUBLIC HEALTH & SAFETY A23/004 DEAD MAN TALKING | TFL | TFL | ENT/AGE RATTLING STICK LONDON/M&C SAATCHI LONDON | MED MEC LONDON | PROD.CO. RATTLING STICK LONDON

UNITED KINGDOM

A23/005 BE THE ARTIST | LION | BEER | ENT/AGE DDB GROUP NEW ZEALAND AUCKLAND | PROD.CO. THE SWEETSHOP AUCKLAND

NEW ZEALAND

A23/008 MISTAKES | NEW ZEALAND TRANSPORT AGENCY | SPEED | ENT/AGE CLEMENGER BBDO WELLINGTON | MED OMD WELLINGTON | PROD.CO. FINCH SYDNEY

NEW ZEALAND

A23/032 HUMAN TRAFFIC SIGNS | SHANGHAI GENERAL MOTORS | BUICK | ENT/AGE LOWE CHINA SHANGHAI | PROD.CO. A NEW LIFE FILMS SHANGHAI/LOCUS SEOUL

CHINA

A23/045 I TOUCH MYSELF | CANCER COUNCIL | BREAST CANCER | ENT/AGE JWT SYDNEY | PROD.CO. COLLIDER SYDNEY/STUDIOS 301 ALEXANDRIA

AUSTRALIA

A23/046 SAVE THE BOY | ST JOHN AMBULANCE | FIRST AID | ENT/AGE BBH LONDON | PROD.CO. BLINK PRODUCTIONS LONDON

UNITED KINGDOM

PUBLIC AWARENESS MESSAGES A24/023 HIRE JIM | GOVERNMENT OF ONTARIO - MINISTRY OF TRAINING, COLLEGES & UNIVERSITIES | YOUTH JOB STRATEGY | ENT/AGE BENSIMON BYRNE TORONTO | PROD.CO. OPC TORONTO/POSTERBOY EDIT TORONTO/PIRATE GROUP TORONTO A24/035 I WILL SURVIVE | VH1 LATIN AMERICA | VH1 LATIN AMERICA | ENT/AGE DEL CAMPO SAATCHI & SAATCHI BUENOS AIRES | PROD.CO. LANDIA BUENOS AIRES/STINK LONDON

CANADA ARGENTINA

A24/039 MUTE | HANDLOOM PICTURE COMPANY | PUBLIC SERVICE | ENT/AGE HANDLOOM PICTURE COMPANY MUMBAI | PROD.CO. HANDLOOM PICTURE COMPANY MUMBAI

INDIA

A24/051 DEAR FUTURE MOM | COORDOWN ONLUS | WORLD DOWN SYNDROME DAY | ENT/AGE SAATCHI & SAATCHI MILAN | PROD.CO. THE FAMILY MILAN

ITALY

A24/056 NO MORE SILENCE | MOMS DEMAND ACTION FOR GUN SENSE IN AMERICA | PUBLIC AWARENESS - GUN CONTROL | ENT/AGE GREY GROUP CANADA TORONTO | PROD.CO. SPY FILMS TORONTO

CANADA

A24/064 WATER | COLGATE | WATER RESOURCE SAVING | ENT/AGE Y&R LIMA | PROD.CO. PATRIA LIMA/KAZOO AUDIO LIMA/MAKACO LIMA

PERU

A24/067 THE 1000 MILES OF LUCA | CONSEJO PUBLICITARIO ARGENTINO | INTERNATIONAL DAY OF PEOPLE WITH DISABILITIES | ENT/AGE TBWA\BUENOS AIRES | PROD.CO. PRIMO BUENOS AIRES

ARGENTINA

A24/077 NEW BEES | GREENPEACE | GREENPEACE | ENT/AGE DDB PARIS | PROD.CO. WOODBLOCK BERLIN

FRANCE

FUNDRAISING, DONATIONS & APPEALS A25/022 SEAN | CANADIAN BREAST CANCER FOUNDATION | RUN FOR THE CURE | ENT/AGE DARE DIGITAL TORONTO, ON | PROD.CO. OPC TORONTO

CANADA

A25/034 GIRL WHO COULDN’T CRY | WATERISLIFE | NON-PROFIT | ENT/AGE DDB NEW YORK | PROD.CO.

USA

A25/041 THE GREATEST STORY | UNICEF | AWARENESS MESSAGE | ENT/AGE FORSMAN & BODENFORS GOTHENBURG | MED MAXUS GLOBAL STOCKHOLM | PROD.CO. ACNE PRODUCTION STOCKHOLM

SWEDEN

A25/061 HIDDEN PICTURE | UNRWA | UNRWA | ENT/AGE JWT SPAIN MADRID | PROD.CO.

SPAIN

A25/063 DON’T LET THIS STORY BECOME HIS STORY | WAR CHILD | CHARITY | ENT/AGE DOOM & DICKSON AMSTERDAM | MED UM AMSTERDAM | PROD.CO. HAZAZAH AMSTERDAM

THE NETHERLANDS

A25/075 KEVIN | TOPSY FOUNDATION | TOPSY | ENT/AGE OGILVY & MATHER JOHANNESBURG | PROD.CO. VELOCITY FILMS CAPE TOWN

SOUTH AFRICA

INTERNET FILM B01/006 UNLOAD YOUR 401K | STATES UNITED TO PREVENT GUN VIOLENCE | ANTI GUN VIOLENCE ORGANIZATION | ENT/AGE GREY NEW YORK | PROD.CO. RABBIT CONTENT NEW YORK/ROCK PAPER SCISSORS NEW YORK CITY, NY

USA

B01/010 WINGS | VOLKSWAGEN | AUTOMOBILE | ENT/AGE ARGONAUT SAN FRANCISCO | MED MEDIACOM NEW YORK | PROD.CO. MJZ LOS ANGELES/STERNTAG FILM HAMBURG

USA

B01/011 REAL WINTER | CENTRAAL BEHEER ACHMEA | INSURANCE | ENT/AGE DDB & TRIBAL WORLDWIDE AMSTERDAM | PROD.CO. IN CASE OF FIRE AMSTERDAM

THE NETHERLANDS

B01/039 1.24.14 | APPLE | APPLE | ENT/AGE TBWA\MEDIA ARTS LAB LOS ANGELES | MED OMD NEW YORK | PROD.CO. RSA FILMS LOS ANGELES

USA

B01/040 INTENTION | APPLE | APPLE | ENT/AGE TBWA\MEDIA ARTS LAB LOS ANGELES | MED OMD NEW YORK | PROD.CO. BUCK LOS ANGELES

USA

B01/048 WHAT’S YOUR PROBLEM? SPORT DOESN’T CARE (MANIFESTO) | SAMSUNG ELECTRONICS | 2014 SOCHI PARALYMPICS GAMES | ENT/AGE 72ANDSUNNY LOS ANGELES/72ANDSUNNY AMSTERDAM | PROD.CO. SMUGGLER LONDON

USA

B01/082 SAXX PROM | SAXX | SAXX UNDERWEAR CO | ENT/AGE ONE TWENTY THREE WEST VANCOUVER | PROD.CO. OPC FAMILYSTYLE TORONTO

CANADA

B01/110 ANNA KENDRICK: BEHIND THE SCENES OF THE MEGA HUGE FOOTBALL GAME AD WE ALMOST MAD | HEINEKEN | NEWCASTLE BROWN ALE | ENT/AGE DROGA5 NEW YORK | PROD.CO. SMUGGLER LOS ANGELES

USA

B01/112 THE OFFICIAL TEASER FOR THE TRAILER FOR THE MEGA HUGE FOOTBALL GAME AD | HEINEKEN | NEWCASTLE BROWN ALE | ENT/AGE DROGA5 NEW YORK | PROD.CO.

USA

B01/113 OFFICIAL STOCK FOOTAGE TRAILER FOR THE MEGA HUGE FOOTBALL GAME AD WE DIDN’T MAKE | HEINEKEN | NEWCASTLE BROWN ALE | ENT/AGE DROGA5 NEW YORK | PROD.CO.

USA

B01/114 ACTUAL FOCUS GROUPS REACT TO THE MEGA FOOTBALL AD WE DIDN’T ACTUALLY MAKE | HEINEKEN | NEWCASTLE BROWN ALE | ENT/AGE DROGA5 NEW YORK | PROD.CO.

USA

B01/115 THE AD NEWCASTLE MADE TO PREPARE YOU FOR THE AD WE DIDN’T MAKE | HEINEKEN | NEWCASTLE BROWN ALE | ENT/AGE DROGA5 NEW YORK | PROD.CO.

USA

B01/134 THE PARTING GLASS - LONG FORM | WILLIAMS GRANT & SONS LTD | TULLAMORE DEW IRISH WHISKEY | ENT/AGE OPPERMANWEISS NEW YORK | PROD.CO. RSA FILMS LOS ANGELES

USA

B01/157 THE EPIC SPLIT | VOLVO TRUCKS | THE NEW VOLVO FM | ENT/AGE FORSMAN & BODENFORS GOTHENBURG | PROD.CO. FOLKE STOCKHOLM

SWEDEN

B01/159 THE TECHNICIAN | VOLVO TRUCKS | THE NEW VOLVO FMX | ENT/AGE FORSMAN & BODENFORS GOTHENBURG | PROD.CO. FOLKE STOCKHOLM

SWEDEN

B01/168 #DONTRETALIATE | CYBERSMILE FOUNDATION | CYBERSMILE | ENT/AGE RATTLING STICK LONDON | PROD.CO. RATTLING STICK LONDON

UNITED KINGDOM

B01/172 THE FIREMAN’S SMILE | SÉCURITÉ ROUTIÈRE | ANTI DRINK-DRIVING | ENT/AGE PUBLICIS CONSULTANTS PARIS | PROD.CO. BIG PRODUCTION PARIS

FRANCE

ENT/AG: ENTRANT AGENCY MED: MEDIA AGENCY PROD.CO.: PRODUCTION COMPANY

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what they really needed. It’s a period production and we have many costumes from many different eras. She would take our old originals to re-make new versions for the film,” says Theaterkunst costume department head Nikola Fölster. “Our job is to help the designer with research, ideas and of course provision of actual costumes.” The many last-minute changes to the costume requirements on the film represented something of a challenge for Canonero. “New decisions were made quite regularly — decisions about outfits and colours,” Fölster says. “We regularly had to send new costumes overnight ready for filming the next day.”

DRESSING FOR THE GRAND HOTEL THE COSTUMES for Wes Andersen’s The Grand Budapest Hotel needed to match both the film’s melodramatic plot and lavish settings.

Key to their creation was Theaterkunst, the Berlin-based company that holds over 10 million theatrical costumes and accessories that is a leading provider to film and television productions around the world. Founded in 1907 it began as a provider of costumes for the theatre but quickly moved into film and famously provided the costumes for Fritz Lang’s 1927 classic Metropolis. Typically a costume designer on a medium-to-big-budget film will use Theaterkunst for ideas as much as for the hire of actual costumes, with visits to its Berlin Wilmersdorf 9,000-sq m warehouse for expertise and inspiration, and often a visit to its library of over 4,000 books on the subject.

Oscar-winning Italian costume designer Milena Canonero did just that for The Grand Budapest Hotel. “Milena used our costumes to figure out

www.pigchina.com

23 MAKING A SCENE - THE GRAND BUDAPEST HOTEL

in Görlitz and the Zwinger museum in Dresden. They were very supportive and enthusiastic and in the end we shot all of our main photography in the region.”

And local officials were enthusiastic for the film, “especially the mayor, who let us shoot in his office. And the traffic authorities, too. They also helped with the department store location, it would not have been possible without them. We shot in many city-owned spaces and streets and even had to control the street lights and traffic. None of this would have been possible without their co-operation.”

But not everything went smoothly. “The main problem we faced was snow,” Dawson says. ”It was a very cold, dark winter last year. On one of our first days it snowed and Wes decided we should embrace the snow and not try and hide it. It was a lucky or smart decision as it ended up snowing almost every day, so it worked for the continuity and added a beauty and magic to our world. Of course it was also freezing cold and harder to work in snow, but we all got warm coats and boots and in the end it was a great decision.”

DIRECTOR WES ANDERSON WITH SAOIRSE RONAN (AGATHA) AND TONY REVOLORI (ZERO) ON LOCATION IN GÖRLITZ

•

panies

one of Germany‘s leadinG production serVice com

shotz production serVice Berlin www.shotzfilm.de t +49 30 7474 6262 . motion theory . nt . czar . focus features . framework la . hunGry man ontent conte a iar c aV caViar edia . Bonkers . c media Ve m BelieVe BelieV clients Belie to name Just a few the directors Bureau . the family film and warner Bros. moVie maGic italy . raBBit content . rsa . stink . tf1 .

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INTERNET FILM B01/173 LOVE YOU VERY MUCH | SÉCURITÉ ROUTIÈRE | ANTI DRINK-DRIVING | ENT/AGE PUBLICIS CONSULTANTS PARIS | PROD.CO. BIG PRODUCTION PARIS

FRANCE

B01/177 MADE FROM COOL - KNIT WITH WIT | JACK & JONES | CLOTHING | ENT/AGE & CO. COPENHAGEN | MED OMD COPENHAGEN | PROD.CO. BACON COPENHAGEN

DENMARK

B01/178 MADE FROM COOL - ON THE BUTTON | JACK & JONES | CLOTHING | ENT/AGE & CO. COPENHAGEN | MED OMD COPENHAGEN | PROD.CO. BACON COPENHAGEN

DENMARK

B01/179 MADE FROM COOL - WOOL FROM COOL | JACK & JONES | CLOTHING | ENT/AGE & CO. COPENHAGEN | MED OMD COPENHAGEN | PROD.CO. BACON COPENHAGEN

DENMARK

B01/210 THE BABYSITTER YOU DON’T WANT TO BE | AMERICAN RED CROSS | ONLINE BABYSITTING COURSES | ENT/AGE BBDO ATLANTA | PROD.CO. TOOL OF NORTH AMERICA SANTA MONICA

USA

B01/215 APPRECIATION | HOME BOX OFFICE INC. | HBO GO | ENT/AGE SS+K NEW YORK | PROD.CO. O POSITIVE FILMS NEW YORK

USA

B01/216 WHAT’S HE IN | HOME BOX OFFICE INC. | HBOGO | ENT/AGE SS+K NEW YORK | PROD.CO. O POSITIVE FILMS NEW YORK

USA

B01/217 YOUR CHOICE | HOME BOX OFFICE INC. | HBO GO | ENT/AGE SS+K NEW YORK | PROD.CO. O POSITIVE FILMS NEW YORK

USA

B01/218 FAITHFUL | HOME BOX OFFICE INC. | HBO GO | ENT/AGE SS+K NEW YORK | PROD.CO. O POSITIVE FILMS NEW YORK

USA

B01/219 UNCONDITIONAL LOVE | HOME BOX OFFICE INC. | HBO GO | ENT/AGE SS+K NEW YORK | PROD.CO. O POSITIVE FILMS NEW YORK

USA

B01/220 HAPPILY MARRIED | HOME BOX OFFICE INC. | HBO GO | ENT/AGE SS+K NEW YORK | PROD.CO. O POSITIVE FILMS NEW YORK

USA

B01/228 THE BACKSTORY - GUESS WHO’S COMING TO BREAKFAST (RONALD MCDONALD LAUNCH) | TACO BELL | TACO BELL BREAKFAST MENU | ENT/AGE DEUTSCH LA | MED MEC LA | PROD.CO. MOXIE PICTURES LOS ANGELES B01/241 START SOMETHING NEW | IKEA | IKEA | ENT/AGE S,C,P,F BARCELONA | PROD.CO. GARLIC FILMS MADRID/ALBERT BARCELONA

USA SPAIN

B01/248 LOOK INSIDE.™: JACK ANDRAKA | INTEL | INTEL | ENT/AGE VENABLES BELL & PARTNERS SAN FRANCISCO | PROD.CO. FARM LEAGUE LOS ANGELES

USA

B01/249 LOOK INSIDE.™: MICK EBELING | INTEL | INTEL | ENT/AGE VENABLES BELL & PARTNERS SAN FRANCISCO | PROD.CO. THE EBELING GROUP PLAYA DEL REY

USA

B01/250 LOOK INSIDE™: ERIK WEIHENMAYER | INTEL | INTEL | ENT/AGE VENABLES BELL & PARTNERS SAN FRANCISCO | PROD.CO. KNUCKLEHEAD LONDON

USA

B01/268 WE ARE NOT ALONE | FACEBOOK | FACEBOOK | ENT/AGE EPOCH FILMS NEW YORK CITY, NY/WIEDEN+KENNEDY PORTLAND | PROD.CO. EPOCH FILMS NEW YORK

USA

B01/289 WE’LL TRY AS HARD AS YOU | MOVISTAR | SPANISH FOOTBALL TEAM SPONSORSHIP | ENT/AGE MCCANN MADRID MADRID | PROD.CO. LEE FILMS MADRID/TELSON MADRID

SPAIN

B01/290 BORDER FOOTBALL | CARLSBERG GROUP INTERNATIONAL | CARLSBERG | ENT/AGE DUVAL GUILLAUME ANTWERP | PROD.CO. TRS BRUSSELS

BELGIUM

B01/312 GET SHAVED IN THE FACE | OLD SPICE | PERSONAL CARE | ENT/AGE WIEDEN+KENNEDY PORTLAND | PROD.CO. FATAL FARM LOS ANGELES

USA

B01/415 KOMBI LAST WISHES | VOLKSWAGEN DO BRASIL | VOLKSWAGEN BUS | ENT/AGE ALMAPBBDO SÃO PAULO | PROD.CO. SPRAY FILMES SÃO PAULO

BRAZIL

B01/472 JENNIFER MCKINLEY | PRUDENTIAL | FINANCIAL SERVICES | ENT/AGE DROGA5 NEW YORK | PROD.CO. BRAINWASH LOS ANGELES

USA

VIRAL FILMS B02/014 THE AUTOCOMPLETE TRUTH | UN WOMEN | GENDER EQUALITY | ENT/AGE MEMAC OGILVY DUBAI | PROD.CO.

UNITED ARAB EMIRATES

B02/017 FIRST KISS | WREN | CLOTHING | ENT/AGE DURABLE GOODS LOS ANGELES | PROD.CO. DURABLE GOODS LOS ANGELES

USA

B02/022 CLIMATE NAME CHANGE | 350 ACTION | CLIMATE NAME CHANGE | ENT/AGE BARTON F. GRAF 9000 NEW YORK | PROD.CO. FURLINED LOS ANGELES/BIG SKY EDIT NEW YORK/APM MUSIC NEW YORK

USA

B02/027 DEVIL BABY ATTACK | 20TH CENTURY FOX | DEVIL’S DUE | ENT/AGE THINKMODO NEW YORK | PROD.CO.

USA

B02/028 TELEKINETIC COFFEE SHOP SURPRISE | SONY PICTURES | CARRIE | ENT/AGE THINKMODO NEW YORK | PROD.CO.

USA

B02/047 TAXI STOLTENBERG | ARBEIDERPARTIET (THE LABOUR PARTY) | ARBEIDERPARTIET (THE LABOUR PARTY) | ENT/AGE TRY/APT ADVERTISING AGENCY OSLO | PROD.CO. PRAVDA OSLO

NORWAY

B02/056 SWEETIE | TERRE DES HOMMES NETHERLANDS | INTERNATIONAL CHILDRENS’ AID ORGANIZATION | ENT/AGE LEMZ AMSTERDAM | PROD.CO. TETTEROO MEDIA AMSTERDAM

THE NETHERLANDS

B02/068 TUI BEER PLUMBER | HEINEKEN NEW ZEALAND | TUI BEER | ENT/AGE SAATCHI & SAATCHI AUCKLAND | MED SPARK PHD AUCKLAND | PROD.CO. 8COM AUCKLAND/BLOCKHEAD AUCKLAND/FRANKLIN ROAD AUCKLAND B02/077 IAN UP FOR WHATEVER FILM | ANHEUSER-BUSCH | BUD LIGHT | ENT/AGE BBDO NEW YORK | PROD.CO. HELO LOS ANGELES

NEW ZEALAND USA

B02/087 BUCKET LIST | WATERISLIFE | NON-PROFIT | ENT/AGE DDB NEW YORK | PROD.CO.

USA

B02/090 FUCK THE POOR | THE PILION TRUST | YOUTH HOMELESSNESS CHARITY | ENT/AGE PUBLICIS LONDON | PROD.CO. SUPERGOOBER LONDON

UNITED KINGDOM

B02/100 ALMOST IDENTICAL | MONDELEZ INTERNATIONAL | BELDENT INFINIT | ENT/AGE DEL CAMPO SAATCHI & SAATCHI BUENOS AIRES | PROD.CO. AGOSTO BUENOS AIRES

ARGENTINA

ENT/AG: ENTRANT AGENCY MED: MEDIA AGENCY PROD.CO.: PRODUCTION COMPANY

PHILIP@MOONLIGHTING.CO.ZA SHAYNE@MOONLIGHTING.CO.ZA WWW.MOONLIGHTING.CO.ZA A MEMBER OF

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VIRAL FILMS B02/103 THE STORY OF BOB & LINDA | TELEKOM DEUTSCHLAND | BEST NETWORK | ENT/AGE DDB TRIBAL BERLIN/HAMBURG | MED MEDIACOM DÜSSELDORF | PROD.CO. SOUP FILMPROD.BERLIN/OPTIX DIGITAL PIC. HAMBURG/HASTINGS AUDIO NETWORK HAMBURG B02/105 HAVE THE HOMELESS BECOME INVISIBLE? | NEW YORK CITY RESCUE MISSION | MAKE THEM VISIBLE | ENT/AGE SILVER + PARTNERS NEW YORK CITY, NY | PROD.CO. SMUGGLER NEW YORK CITY B02/108 LIVING WITH LAG | UMEÅ ENERGI | FIBER BROADBAND PROVIDER | ENT/AGE ANR BBDO STOCKHOLM | PROD.CO. STOPP/FAMILY STOCKHOLM/HARD HAT STOCKHOLM B02/124 HEINEKEN RESPONSE ON THE ODYSSEY FILM AUTHENTICITY | HEINEKEN | HEINEKEN | ENT/AGE WIEDEN+KENNEDY AMSTERDAM | MED STARCOM MEDIAVEST GROUP AMSTERDAM | PROD.CO. MJZ LONDON LONDON

GERMANY USA SWEDEN THE NETHERLANDS

BRANDED ENTERTAINMENT INTERNET FILM B03/002 SOUND OF HONDA/AYRTON SENNA 1989 | HONDA MOTOR CO. | INTERNAVI | ENT/AGE DENTSU TOKYO | PROD.CO. DENTSU CREATIVE X TOKYO B03/006 SEVEN DAYS | NATIONWIDE INSURANCE | PUBLIC SERVICE | ENT/AGE ANIMAL VFX PITTSBURGH, PA | PROD.CO. B03/015 IF ONLY FOR A SECOND | MIMI FOUNDATION | SUPPORT AND WELLBEING CENTERS | ENT/AGE LEO BURNETT FRANCE PARIS | PROD.CO. PRODIGIOUS PARIS

JAPAN USA FRANCE

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B04/024 THE BORN FRIENDS FAMILY PORTRAIT/SARAH & PAIGE | SKYPE | VOICE-OVER-IP | ENT/AGE PEREIRA & O’DELL SAN FRANCISCO | PROD.CO. STATION FILM NEW YORK

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44

FOCUS ON PUERTO RICO

FRIDAY / JUNE 20 / 2014

THE PUERTO RICO FILM COMMISSION IS MAKING ITS SECOND CONSECUTIVE VISIT TO CANNES LIONS FESTIVAL OF CREATIVITY. WITH GENEROUS TAX INCENTIVES FOR COMMERCIALS, A WEALTH OF LOCATIONS IN A RELIABLE CLIMATE, AND A STABLE POLITICAL, FINANCIAL AND LEGAL SYSTEM, TO SAY THIS CARIBBEAN ISLAND IS FILMFRIENDLY WOULD BE AN UNDERSTATEMENT. DEBBIE LINCOLN REPORTS

YOU’RE WELCOME P

UERTO Rico Film

commissioner Demetrio Fernández Manzano is keen to welcome commercials producers to his island, and is at Cannes Lions to prove that: “You can do your film project in Puerto Rico from start to finish.”

A Commonwealth of the United States, the 3,500 square mile-island of Puerto Rico lies in the heart of the Caribbean, with year-round warm weather and sunshine, 250 miles of coastline, a number of outlying islands, and locations including plains, mountains, jungles, beaches, dry forests, rivers, lakes and waterfalls, as well as colonial and modern architecture, vibrant cities, forts and abandoned buildings reflecting over five hundred years of a clash of European and American cultures. Just two-and-a-half hours flying time from Miami, there are also direct flights from Frankfurt and Madrid as well as numerous US and South American cities.

Currency is the US dollar; the political situation is stable; American labour, safety and minimum wage laws, as well as

40% production tax credit on all payments to Puerto Rico resident companies and individuals 20% production credit tax credit on all non-resident qualified spending, including producers, directors, writers and talent 25% infrastructure tax

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LIONS DAILY NEWS

COLOURFUL WATERFRONT COLONIAL ARCHITECTURE SITS ALONGSIDE THE MODERN METROPOLIS OF SAN JUAN

intellectual property and banking protections apply; no passport is required for US citizens; and there is a robust island-wide broadband service.

The Film Commission decided to come back to Cannes Lions after a successful debut last year. This year the delegation has been joined by Antonio Duarte-Pino a ministerial deputy secretary, a move that emphasises government support for the island’s incentives scheme as well as the talent to be found in local offices affiliated to major ad agencies. “Puerto Rico hopes to attract the attention of local and overseas producers,” he said.

“Last year was the first time Puerto Rico attended such an event. Therefore, we spread the word of the fiscal benefits, location advantages and crew virtues or experience our Island offer for commercial producers. Our experience was great. The outcome of our efforts is seen in the increase in commercials produced in Puerto Rico during the last year,” Fernández Manzano says, adding: “We’re here to sell Puerto Rico as a creative destination.”

credit on development or expansion costs of studios, laboratories, post-production, animation and special effects facilities, transmission facilities and related infrastructure PREFERENTIAL TAX TREATMENT for companies or individuals engaged in qualifying film and

infrastructure projects or operators of studios and other purpose-built media facilities ALL TAX CREDITS are transferrable and can be used to offset income tax liability in Puerto Rico or brokered on the open market

6/19/14 8:57 PM

LIONS DAILY NEWS

FRIDAY / JUNE 20 / 2014

FOCUS ON PUERTO RICO

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MIINISTERIAL DEPUTY SECRETARY ANTONIO DUARTE-PINO (LEFT) AT THE PUERTO RICO CANNES LIONS CABANA WITH FILM COMMISSIONER DEMETRIO FERNANDEZ MANZANO

Fernández Manzano says that thousands of campaigns and spots have been produced in Puerto Rico for both local and international markets since the 1970s. A legacy of this is a large number of experienced film professionals on the island, from location scouting through production services to post. “Consequently, the experience and resourcefulness of our audiovisual production industry is way ahead of competing countries and other US jurisdictions that offer film incentives.

That makes us a no-brainer for any agency and client looking for cutting costs without loosing production value and quality,” he says.

Puerto Rico offers a competitive and well-established incentive scheme that dates back to 1999. “Around 25% of the projects with the qualifications to receive the benefits of our Film Incentives Program are commercials for international markets.

The campaigns are mostly for US Hispanic markets, but the wonderful and unique thing about Puerto Rico as a filming destination is that you can find talent suitable for any market and locations that can be anywhere in the world and anytime in history,” Fernández Manzano says.

Brands to have recently used Puerto Rico for campaigns include Denny’s and

PUERTO RICO+D.indd 45

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FRIDAY / JUNE 20 / 2014

FOCUS ON PUERTO RICO

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LIZZETTE QUINONES

THE ARECIBO COASTLINE, FACING NORTH TO THE ATLANTIC OCEAN

PUERTO RICO+D.indd 47

Walgreens — both twice in one year — as well as shoots for Verizon, Corona and Pacific Life Insurance.

A large part of the film commission’s work is to liaise with state and local agencies, and potential filmmakers. Fernández Manzano says that the successive governments since the incentives scheme began have been fully supportive.

The Film Commission is confident that it can cope with the demands of any production, even where time is in short supply. Whether it’s filming permits for locations or fees for state property (which are often waived). “We will take your hand and guide you through the process,” says Nadia Barbarossa, film incentives program manager.

Barbarossa says that most of the commercials producers come to Puerto Rico to look for the “beauty spots”, whether it’s the beaches, the interior landscapes or the picturesque urban areas. Competitors for these locations might be some southern US states or Hawaii, but according to Barbarossa Puerto Rico is able to offer

more of a package for producers than many regions. “We are a one-stop shop,” she says, right through to post. Fernández Manzano adds: “We have production companies who have the experience to produce within any budget range and in record time.

Fernández Manzano is also keen to point out that it isn’t just the beauty spots that Puerto Rico excels in. The island provided a desert for the 2009 movie The Men Who Stare At Goats and a number of years ago an area of the capital San Juan doubled for Paris, with the producers later dropping in a CGI version of the tower at La Defense.

When asked to sum up why producers should come to Puerto Rico for their next shoot, Fernández Manzano says: “The Film Commission is very much aware of providing the best customer service. So you will have our support every step of the way. We have post-production facilities with the latest technology that can deliver the best quality media. We are quick problem-solvers, exercise great customer care and are budget conscious.”

THE DIGITALLY connected population makes Puerto Rico an ideal hub for international ad agencies targeting Latin America and the US Hispanic market, said Lizzette Quinones, president of the Advertising Agencies Association in Puerto Rico at Cannes Lions.

However she says, the high digital penetration has also seen the rapid rise of local independent agencies.

“Social media is huge,” she added.

“More than 90% of the population has a Facebook account, with 65% logging in daily. And although newspaper circulation is dropping, the digital editions are growing faster. Even TV is benefiting, with social media encouraging more people to tune in.”

Among the TV networks gaining from the digital media’s impact on broadcasters are the three leading commercial channels: Univision (part of the US-based group of the same name); Telemundo (part of NBCUniversal); and local station Wapa TV, a subsidiary of Hemisphere Media Group.

“All the multinational agencies are in Puerto Rico, a country that is right in the middle of Latin America and the US. We have the discipline, knowledge plus an understanding of both cultures,” she said.

6/19/14 8:58 PM

JUNE 21 / 1:30PM DEBUSSY THEATRE

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19/06/2014 21:13

LIONS DAILY NEWS

FRIDAY / JUNE 20 / 2014

THE DIGITAL REVOLUTION IS RICH IN OPPORTUNITY — IT’S ALSO COMPLEX, CONFUSING AND RIFE WITH RISK. IF ASIA WANTS TO PROFIT FROM THE NEW MARKET ORDER, IT NEEDS TO GET BACK TO BASICS, WRITES DIGITAL MARKET ASIA’S NOOR FATHIMA WARSIA

SIMPLY’S THE BEST “C

LASSIFYING advertising as

digital or traditional reeks of old school,” says Ogilvy & Mather’s chief creative officer Tham Khai Meng as he urges advertising and marketing professionals to remember that, today, everything is digital. If the essence of his words is to be understood, terms such as ‘mobile marketing’, ‘social media marketing’ and ‘content marketing’ are also obsolete. The need for specialist advice in new sectors has created small and independent ecosystems that are now confusing the marketer.

Technology-led changes in communication and advertising are posing new challenges to marketing professionals. The journey to understand these changes is littered with opportunities — but complexity has become the new reality and speed the new currency. The only way to grow business efficiently is to bring back simplicity.

Companies are experimenting with many new models to not only deal with

ASIA+D.indd 49

challenges but also to bring operational efficiencies, while exchanging global learning. Against that background, traditional geographical definitions are being reconfigured.

Large corporates such as Samsung, P&G, Kimberly Clark, Lenovo and SingTel have revisited the role of the regional chief marketing officer for APAC and have instead created clusters of territories that share similar characteristics, irrespective of geographical boundaries. In the new order, South-East Asia is not necessarily grouped with India and China — and Asia and Africa may find themselves in the same cluster, but Australia in another.

Moves such as these are changing traditional regional definitions. And advertising technology is mirroring these changes.

The sophistication of the digital scenario in Australia and Japan, and the scale of the digital economy in China and India make it difficult to approach various APAC markets with a single model.

The fragmentation of media in the digital

FOCUS ON ASIA

space alone — the rise of mobile platforms, social-media channels, social-media messengers, the ability to automate advertising via real-time bidding and programmatic platforms — is not making it any easier. Even if they did, they would see structures like LUMAscape that only compound the confusion.

The key question is whether all these changes can be navigated with better understanding and less risk.The jury is still out. That said, there are certain areas that hold promise for marketers.

One of the biggest growth drivers for markets such as India and Indonesia is the user base for mobile and social. Statistics for telecom regulators in individual markets show that India crossed the 900-million handsets mark in 2014. With over 237 million handsets, Indonesia has the sixth largest mobile user base. A recent Mindshare-Yahoo study indicated that smartphone penetration in India is at 15% and 31% in Indonesia.

Both these markets are also among the top two or three in terms of social-media players including Facebook, LinkedIn and Twitter. Despite their scale, advertising revenues are lagging behind.

Breakthrough work that makes a difference to advertisers’ overall business or is recognised on global stages such as the Cannes Lions International Festival Of Creativity is still missing.

But the endeavours continue. Unilever’s ‘Kan Khajura Tesan’ (KKT) in India is an example of how marketers can use mobile beyond conventional advertising to connect with their target audience.

Focused on the rural population in India, where 86% of consumers own a mobile — three times the number that own a TV — KKT provides affordable

49

OMNICOM’S CHEUK CHIANG: “WE HAVE THE ABILITY TO TARGET BEHAVIOUR, STAY RELEVANT AND INFLUENCE” (LEFT) UNILEVER’S RAHUL WELDE: “THE DIGITAL UNIVERSE IS VAST AND WELL PLACED TO BE TRANSFORMATIONAL FOR BUSINESS” (MIDDLE) TENCENT CHINA’S SENG YEE LAU: “OF THE 1.3 BILLION PEOPLE IN CHINA, 1.2 BILLION USE MOBILE” (RIGHT)

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FRIDAY / JUNE 20 / 2014

entertainment, integrating Unilever’s brands into content through free, on-demand and always-on options. The platform gained over eight million users in the first six months.

Markets like Australia, Japan and Korea show a different picture, having generated some of the most talked-about digital campaigns.

Another market to note is China. If it was the automobile industry that revolutionised the US over a century ago, then it is the mobile internet that is performing the same function for China today.

“China is the largest mobile nation and the most technology-driven country in the world. Of the 1.3 billion people in China, 1.2 billion use mobile. There are more than 400 million 3G users in China,” says Seng Yee Lau, president of Online Media Group of Tencent and senior executive vice-president of Tencent Holdings, which operates brands such as WeChat. It’s estimated that 42% of Chinese consumers’ time spent is on the mobile internet, followed by 29% on the PC internet and 17% on TV. Mobile is creating value and has become the decision-making tool for consumers.

“The mobile internet is not only an extension but a disruption,” Lau adds.

Another way in Asia is leading the way in terms of consumption habits are games.

Asia Pacific is expected to account for the largest slice of the global-gaming pie in 2014 with a 48.4% share, according to iResearch. The popularity of the free-toplay (FTP) model continues to grow each year, with games such as Clash Of Clans and Candy Crush leading the way.

Interest from unusual suspects was seen when Facebook purchased virtual-reality headset technology company Oculus Rift, which is expected to open up new avenues for brands to advertise in the virtual-reality space. This will give consumers in Asia a new way to interact with a brand.

As a result of advances in gameproduction technology, creating a branded game experience is not only becoming cheaper but production values are rising. The growth of the FTP model is leading to more ad space for brands.

These games developers cannot rely entirely on in-app purchases and will likely be looking to advertising as a way to monetise their products.

The gamification element has attracted significant industry attention, but brands are still exploring the ways in which gamification can be used to connect with consumers or causes.

Most business leaders are in sync with today’s digital age and see technology as

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FOCUS ON ASIA

one of the strongest weapons in their armoury. “The famous ‘50% of my budget is wasted’ could not be more untrue today. We have the ability to target behaviour, stay relevant and influence.

Things have not been easy but we have to think differently and celebrate some of the wonderful things we have got, like the rise of programmatic or data-crunching abilities. It is incredible to be in this industry today,” says Cheuk Chiang, CEO of Omnicom Media Group APAC. Magna Global predicts a total global programmatic CAGR (compound annual growth rate) of 31% through 2017 and a 38% CAGR for RTB (real-time bidding) during this period. RTB penetration in many growth markets will reach the same levels as in many of the largest programmatic markets. Globally, North America is by far the leading programmatic market, accounting for more than half of the world’s programmatic spend. In Asia, the combined size of Japan, China and Australia’s programmatic markets are six times larger than those in the rest of the developing APAC territories.

At 73%, the developing Asia region is showing the fastest programmatic growth in 2014, with a total spend of more than $500m (€366.5m). In the developing Asia region, Korea represents the largest share of the total programmatic spend with $237m in 2014. Malaysia and Singapore’s ARUN KUMAR

“THE WAY AN AGENCY IS STRUCTURED IS THAT 90% OF ITS RESOURCES ARE GEARED TOWARDS CAMPAIGN” RTB penetration is estimated to grow to 30% by 2018 and will eventually lead and surpass that of China. Desktop display represents 94% of total RTB spend, with the remaining 6% representing video and mobile RTB. Social represents the majority of non-RTB programmatic spend in those Asian markets researched by Magna Global.

However, the rise of programmatic has been two dimensional in Asia, with sectors such as e-commerce, online travel and retail relying significantly on it while other sectors, including FMCG and consumer durables, having yet to buy into it. One of the arguments is that the consumer is not a bot. The human touch is critical in advertising technology. While this factor has not limited media-holding companies from focusing on automation, they are attempting to strike the right balance between technology and the creative element.

51

“I am going to borrow a very elegant explanation that Microsoft has on the subject, which involves the marketplace and custom. The marketplace is already automated but custom — which is about content creation, experiences and storytelling — is not, and should not be, automated. The other layer here is this massive blob sitting at the centre called campaign. The way an agency is structured is that 90% of its resources are geared towards campaign. It is about media plans and execution. Once you get the strategy, there can be no errors in any aspect of it, including finance, invoicing and so on.

Increasingly, a lot is going into custom content as well,” says Arun Kumar, president of IPG Mediabrands’ digital offering MAP (Mediabrands Audience Platform) for the G-14 markets.

Asia is constantly on the lookout for something new and is excited about the opportunities to be had from the internet of things, wearable technology and contextual advertising, among others.

Consumers in Asia are keen to embrace some of these changes, but the marketing community is lagging behind. One of the reasons for this is the confusion that technology creates in its wake. Reiterating the need to get back to basics, Phil Duffield, senior vice-president of international at Adap.tv, says: “With too many structures within structures, there is data leakage in the daisy chains and that is money wasted.

The first step to resolve this and grow business is to simplify. And this should then be followed by streamlining of the process and bringing-in sequence.”

It is important to remember the fundamentals of marketing and then look at content, social media, mobile and automation as means to reach the end. For marketers that understand that, technology can play a businesstransforming role.

“The digital universe is vast and well placed to be transformational for business.

We are committed to that. We are investing very aggressively, and in a structured way, on startups that we see focusing on future tech. Our culture is rooted in a bigger purpose, geared towards making greater products. We have to see how we make this pioneering spirit come alive while leveraging technology. We are a peoplefirst company — technology, creativity and innovation are only ways to connect with people,” says Rahul Welde, vice-president, media, (Asia, Africa, Middle East and Turkey) for Unilever.

Digital is often defined as mankind’s third big revolution. Asia is a mirror of the evolution of digital, but the time has come to take a few steps back and revisit the roadmap for the way forward.

6/19/14 8:54 PM

B:250 mm T:240 mm

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19/06/2014 20:35

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B:340 mm

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LIONS DAILY NEWS

FRIDAY / JUNE 20 / 2014

FOCUS ON UK

53

IS OUR DEFINITION OF INNOVATION ‘NOVELTY’, OR IS IT SOMETHING MORE? NICK PARISH OF CONTAGIOUS CALLS FOR FEWER SPLASHY, SHORT-LIVED STUNTS AND MORE FULLY DEVELOPED CONCEPTS CAPABLE OF DELIVERING LONG-TERM VALUE

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19/06/2014 21:00

22/04/14 17:08

LIONS DAILY NEWS

I

FRIDAY / JUNE 20 / 2014

HAVE to admit: I’m tired of

seeing stunts that pass themselves off as ‘innovation’.

For every built-out, broad execution of a brand strategy that touches multiple entry points or media and fills a genuine customer gap, there are hundreds of digital novelties, glorified prototypes and gewgaws claiming some sort of innovation, destined never to be fully developed, tested and scaled beyond entry in an awards show.

The Making Of video arrives on YouTube after it was only ever experienced in person by the 100 lucky friends-of-the-agency who were at the beach that day, or the actors cast to look delighted in a nightclub, or the supermarket full of shoppers paid to react as though they’ve been selected to receive the new iWatch months before the rest of the universe. They’re usually masterpieces of production, but little else.

That’s part of the reason I‘m excited about the Innovation Lions: shortlisted entries actually have to answer for the depth and spread and viability of their work. The jury is then able to recognise if it’s an actual innovation — as in something that’s commercially viable — or just a novelty.

The brilliant insight that built a special drone delivery robot, unique vending machine or brand new way to connect with a celebrity won’t exist for 99% of those who hear about it beyond their browser window. The only chance they’ll ever get to interact with it is through clicking the thumbs-up on YouTube. That has value, but it’s limited.

Ultimately, a ‘proof of concept’ as a single execution isn’t fully embracing the strength of innovation and is damaging to the agency’s nascent role in that process — however great those stunts are and however many YouTube views they get.

It’s a fundamental misunderstanding of the idea that you can prototype a product or experience: prototyping doesn’t end. It just increases in fidelity as you get more information from users and refine the experience.

Here’s what else makes this so disappointing: prototyping products is the perfect domain for marketing to lead. We were made to develop never-seen-before communications ideas. The work can be done quickly, because legacy product infrastructure (‘our way of doing things’) doesn’t get in the way. But every stunt that ends

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FOCUS UK

with a cool video is a setback. There’s a parallel universe where that stunt could have evolved into a fuller, more developed business that could potentially stand on its own, or offer an entirely new way to define marketing.

Perhaps the planners and account directors weren’t able to gain sufficient brand trust to sell in the commitment to a long-term idea. Or perhaps the strategists couldn’t show a clear enough vision. Worse still, maybe the creative teams only came up with a few loosely affiliated, slim ideas, and the brand cherry-picked what it thought was the best, but the idea couldn’t stand on its own.

Whatever the case, structuring innovation for the short term isn’t very innovative. “We want something innovative. Here’s $50,000…” will likely end in one of two ways: a thing that starts entirely simply, and grows and develops and uses up the $50,000 in two years; or a splashy stunt that grabs blog headlines and is forgotten — a fart in a wind tunnel that leaves the few consumers it touched wondering, “What happened to that cool thing?”

Sadly, it’s almost always the latter.

Yes, it’s much easier to allocate resources, set production budgets and have a discrete thing happen once than NICK PARRISH

“WHATEVER THE CASE, STRUCTURING INNOVATION FOR THE SHORT TERM ISN’T VERY INNOVATIVE”

for it to grow and change over months with one or two people involved. And incremental improvement with the goal of eventual innovation can be less sexy than standard ad-industry fare.

But the inability to grow a project from nothing to something ultimately hurts agency value in a time when it’s never been more in question. Because, remember, the guy whose Super Bowl spot won this year’s $1m prize from Doritos put it together for $200. There will always be someone who can shout louder and cheaper.

Software developers talk about scale in these terms: you can build a birdhouse.

But if you want to build a birdhouse 100 times larger, you have to do things completely differently. Our industry is still in awe of the fact that it can build terrific, attractive birdhouses — but it’s time to move on and figure out how to

55

make them big enough.

Marketing is the place for public R&D. It can bring new concepts to market quickly and test them with real people.

But in addition to brave clients and bold ideas, there has to be a path to scalability for those experiments to be considered fruitful.

This isn’t asking clients for a blank cheque. You must have multiple contingency plans. Make a hypothesis about your prototype. Where does it go after its debut? How much will that new phase cost? What happens after that? How long will it take to get that part ready?

This is virgin ground for many who have experience with fire-and-forget campaigns and, if you’re lucky, the idea will grow and change and soon be in an area that you never could have predicted. But you have to start somewhere.

Budweiser Canada’s ‘Red Light’ was originally a Super Bowl promotion in which a limited number of people could buy a working hockey-goal light for their home. It’s a splendid idea; the ultimate branded push notification.

But Budweiser Canada or Anomaly, its agency, aren’t in the goal-lights business and didn’t push the digital-tophysical concept to massive scale, to the disappointment of some fans.

The concept reappeared, though, a few months later in an in-stadium promotion with the Calgary Flames, where fans behind the home net wore Budweiser-branded helmets with lights and were dubbed the Red Light Brigade, earning even more media.

During the Olympics, when the Canadian national team played, a blimp (the Red Zeppelin) flew above Toronto and lit up whenever the team scored a goal. Who would have thought it, but a blimp — one of the oldest gimmicks in advertising — actually felt innovative. Further iterations saw Canadian hockey commentator and sartorial idiot savant Don Cherry don a lighted suit and endorse the campaign and pop-up shops appear in popular entertainment districts.

Ultimately, for agencies to continue to offer brands value, they have to show longer-term consciousness of their objectives and principles. They have to be better than upstart partners or crowdsourced contest winners. And being able to turn away from technology-enabled stunts and work at platforms that can grow and iterate will be the hallmark of that added value.

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FOCUS ON ISRAEL

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LIONS DAILY NEWS

ISRAEL HAS GOT IT ALL — TALENT IN ALL SHAPES AND SIZES, GORGEOUS LOCATIONS, HOLIDAY WEATHER, GEOGRAPHICAL DIVERSITY AND A COMPETITIVE, TECH-SAVVY PRODUCTION INDUSTRY. IF YOU’VE NEVER CONSIDERED FILMING IN ISRAEL, PERHAPS IT’S TIME TO ASK YOURSELF WHY, SUGGESTS ANDY FRY

ISRAEL’S GOT TALENT

W

ITH its superb climate,

spectacular geography, historical heritage and talented production community, the land of milk and honey is a serious alternative to more established filming locations.

The top reason given for not going to Israel is concern about security as a result of the political turmoil in the Middle East. But Meirav Vizer, co-founder of production services company Ooops Films, insists there is “a big gap between perception and reality on this subject”. She adds: “Security in

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Israel is much better than it was eight or 10 years ago. People are safe to walk the streets of Tel Aviv, visit the resort of Eilat down on the Red Sea or go to iconic locations like the Dead Sea. The improvement in security across the country explains why we’ve seen a rise in tourism recently.”

Vizer’s upbeat assessment is supported by the fact that US studios have suddenly started shooting series in Israel. First came NBC’s archaeological thriller Dig, followed by Fox’s Tyrant, which will debut on FX in the US this June. Vizer, who provided production

OOOPS FILMS’ SPOT FOR FRANCE’S M6 ORANGE INVOLVED TAKING ACROBATS ONTO THE DESERT AT NEBI MUSSA

services on the latter, says: “Tyrant is the biggest foreign TV production to have ever come to Israel. After shooting for 77 days without any problems, I’m really hoping it will put us on the map.”

Looking specifically at the commercials sector, Ooops has worked with companies and brands including Coca-Cola, Cornetto, L’Oreal, Kraft Foods and Lipton in the last couple of years. Moscow-based agency BBDO Instinct has been a regular visitor to Israel, bringing with it jobs for Ikea Russia, M.Video and Viola. Explaining the county’s appeal, Vizer says: “Israel’s

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warm and dry winter climate is a big attraction for commercials producers.

Getting here from Europe is so much easier than travelling somewhere like South Africa. At the same time, Israel is a very small country. You can travel between mountains, deserts and the coast in no time.”

Ishay Hadas, founder of Ishay Hadas Productions, says the diversity in Israel’s locations also extends to its urban areas: “If you need a 17th century village or town, you’ll find it here. But in Tel Aviv we also have a modern, bustling, liberal city, with some great architecture. It’s also the main headquarters for most production companies in Israel.”

In terms of the practicalities of production, Hadas says that Israel’s high-tech reputation extends to its production sector: “Our crews are very MEIRAV VIZER

“ISRAEL IS A VERY SMALL COUNTRY. YOU CAN TRAVEL BETWEEN MOUNTAINS, DESERTS AND THE COAST IN NO TIME” good and competitively priced when compared to Europe and the US. They are also very comfortable with using modern equipment and technology.”

Permits are not a problem, Hadas adds. “Like anywhere, you need to provide notice. But there are no special restrictions on filming in most parts of Israel. The basic situation is that Israel is a film-friendly country that wants to encourage production.”

Noam Shalev, founder and managing director of Highlight Films, agrees. He also points out that clients do not just come to Israel for Jewish or Christian-related imagery: “We worked with a financial organisation from the Gulf region that wanted to display the cultural foundations of Islam. So we helped them arrange a shoot in front of Al-Aqsa mosque at Temple Mount in Jerusalem.”

Highlight prides itself on the fact that it is able to handle shoots across Israel and Palestine. “We have been working with Israeli and Palestinian filmmakers for many years,” Shalev says. “We know the procedures necessary to cross backwards and forwards between the two in a quick, safe and efficient way.”

Highlight is able to handle specific requests, such as aerial filming over the historic city of Jerusalem. But while a lot of producers come to Israel for its

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57

Q&A

VIEW FROM THE TOP

JONATHAN LEVY, DIRECTOR OF DIGITAL MEDIA AT ISRAEL’S MINISTRY OF ECONOMY, TELLS ANDY FRY WHAT THE ISRAELI AUTHORITIES ARE DOING TO ATTRACT INTERNATIONAL PRODUCTIONS

HOW WOULD YOU SELL ISRAEL TO INTERNATIONAL PRODUCERS? “There are many benefits to filming in Israel.

These include diverse landscapes, from deserts and sandy beaches to busy cities and tranquil green hills; old and historic sites such as Jerusalem, Nazareth, Acre and Masada; an abundance of sunny days; and a highly developed infrastructure, which makes distances in our small country even shorter.

“But above all there is the human capital. We have professional crews that are highly experienced in working on Israeli and international productions. There is high-quality local talent, and a diverse population that can play any part. While most shooting in Israel is done on location, the Fox production ‘Tyrant’ built an impressive studio in record time.”

“THE GOVERNMENT OF ISRAEL IS REVIEWING POSSIBLE INCENTIVES TO ATTRACT FOREIGN PRODUCTIONS” JONATHAN LEVY

IS THE GOVERNMENT SUPPORTIVE OF THE PRODUCTION SECTOR?

HAVE YOU DONE MUCH TO PROMOTE ISRAEL?

“The government of Israel is reviewing possible incentives to attract foreign productions. But it should also be noted that we currently have co-production treaties with about a dozen countries, including France, Germany, the UK, Italy and Canada, which allow joint funding by the two — or more — countries involved in a specific production. There is also some funding available through funds, such as the Jerusalem Film Fund. Other than that, we are happy to accompany foreign productions and help cut through as much red tape as possible.”

“Frankly, we are not doing enough to promote Israel as a film destination. But our consulates abroad do reach out to the local film industry, particularly in Los Angeles. And perhaps our best promotion comes through the success in major [international] film festivals and competitions of Israeli films, such as Footnote and Waltz With Bashir, and TV successes like Homeland and In Treatment. That leads to a surge in interest of foreign producers in Israel.”

WOULD YOU SAY ISRAEL IS A SAFE PLACE TO COME TO FILM? “People visiting Israel, whether for tourism or work, feel very secure in our country. However, being aware of the geopolitical issues — and to provide reassurance to foreign production companies — we offer war-risk insurance of up to $3m.”

WHAT RECENT PRODUCTIONS DO YOU THINK SHOW THAT ISRAEL HAS WHAT IT TAKES TO COMPETE IN THIS SECTOR? “This year we have several productions, including Dig, a thrilling TV series that takes place in Jerusalem; Tyrant, a story about succession and power play in a fictional Middle Eastern state; and A Tale Of Love And Darkness, Natalie Portman’s directorial debut, based on a book by Amos Oz. Also, Israel attracts productions from outside the US. From China, the romantic comedy Old Cinderella brought scenes from Israel to millions of viewers.”

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FOCUS ON ISRAEL

world-famous cultural sites, Shalev says the country is also great for doubling: “The Judean and Negev deserts can double for lots of parts of the world, as can the Mediterranean coast. But one of my favourite locations are the Galilee Mountains, which are Israel’s equivalent of Tuscany or Provence.”

Agricultural locations are also in demand, he adds: “A lot of our crops become ripe a month or two ahead of Europe, so it’s an opportunity for food companies to launch early campaigns.”

Russians, in particular, are attracted by Israel’s winter crops.

Israel’s other key assets include the diversity of its population, according to Sharon Schaveet, founder and owner of another leading production-services SHARON SCHAVEET

“IF YOU SHOW HONOUR, RESPECT AND FRIENDSHIP, YOU CAN BUILD AMAZING PARTNERSHIPS WITH THE DIFFERENT CULTURES ACROSS THE REGION”

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OOOPS FILMS SHOOTING A SPOT FOR WASA CRISPBREAD

firm, Biblical Productions. “Casting is not a problem here,” she says. “The country is blessed with so many fascinating faces because of all the different ethnic groups that live here. You get an amazing range of types, from people who look like they should have been born 3,000 years ago to some of the most beautiful young people in the world.”

Like her peers, Schaveet says a big attraction is the quality of Israel’s production talent. “Israel isn’t the cheapest place in the world to shoot, but it is sophisticated and reliable, with a wide range of really good productionservices companies. In addition, it’s a country where you know upfront exactly what you are going to get. The budget is the budget and you don’t suddenly discover there are unexpected laws you didn’t know about. Israeli crews are also good at finding ways to make things happen.”

Schaveet does a range of work across TV, film, commercials and music video.

One of her most recent jobs was a De Beers campaign for China, which shot in Jerusalem, the desert and the Red Sea.

LIONS DAILY NEWS

“We get work from markets like the US, the UK, Europe, Russia, China, Australia and Brazil,” she adds. “In my view, the message is getting through now that Israel is a safe place to shoot.

Crews that have filmed here are telling other crews about their experience and that word of mouth is working for us. We are also benefiting from the success that Israelis are having abroad in terms of film-industry awards and TV-format sales.”

Like Shalev, Schaveet stresses that coming to Israel does not need to be an exclusively Jewish or Christian experience: “I service the Middle East through partnerships I have in Egypt and Jordan. I have good friends in both those markets — and in Palestine — so it is possible to cross borders. For example, I serviced a project for Globo in Brazil that involved shooting in Jerusalem and Petra [Jordan]. We even sent equipment across the border. If you show honour, respect and friendship, you can build some amazing partnerships with the different cultures across the region.”

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FOCUS ON ISRAEL

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ISRAEL’S MUST-SEE LOCATIONS JERUSALEM Jerusalem is one of the wonders of the world. And while it would not necessarily be the right backdrop for every commercial, it is packed with the kind of iconic imagery that many clients cry out for. The best-known site is the Western Wall, but other gems include the Church of the Holy Sepulchre, the Dome of the Rock, the Machane Yehuda market, the Knesset (parliament), the city gates and ramparts, and the city skyline itself. Just beyond the city is The Garden of Gethsemane, at the foot of the Mount of Olives. As with any significant religious centre, sensitivity needs to be shown — but the authorities in the city are film-friendly.

Picture: Highlight Films shooting close to the Al-Aqsa mosque in Jerusalem

TEL AVIV Visitors are surprised at how sophisticated Tel Aviv is. A cosmopolitan coastal city, it boasts interesting cityscapes, a dynamic business centre and a vibrant cafe culture. It’s also a great place to relax at the end of a long day’s shooting. Conjoined to Tel Aviv is the old port city of Jaffa, an evocative old-world location that was once part of the Ottoman empire. Today, efforts are under way to preserve Jaffa’s Arabic cultural heritage.

Israel+D.indd 59

EILAT Located on the Red Sea, Eilat is both a port and a popular holiday resort. One of Eilat’s biggest attractions is its beautiful coral reef, which has made it popular for underwater/marine-based productions. With rain for only about three days a year, Eilat, is also good from a climate point of view. Summer can be very hot, however.

THE DEAD SEA Most people know that the Dead Sea is below sea level and has so much salt in it that you can’t sink. But not many people know how beautiful it is. From a filming point of view, its advantages include 330 days of sunshine a year. It is also conveniently located around an hour’s drive from Jerusalem, and near other sites of interest, including Masada (the mountainous fortification where 960 warriors committed suicide) and the delightful Ein Gedi oasis.

Picture: Sharon Schaveet’s shoot for De Beers at the Dead Sea

ISRAEL’S WEST COAST The west of Israel is on the Mediterranean Sea. Most of this coast is populated with cities and towns, but there some quiet areas that have been set aside as nature reserves. All along the coast there are great options for

filming beach shots, some of which are modern and sophisticated, others historic. Not only is the sea in this area a beautiful colour, but there are great sunsets to be filmed.

ISRAEL’S DESERTS THE RUGGED Negev Desert accounts for around half of Israel’s land mass. A bleak and beautiful location, it is home to the magnificent Ramon Crater and a wide array of desert types (rocky, sandy, mountainous, etc). A little more convenient from a filming perspective is the Judean Desert. Bordered by the Mountains of Judea to the west and the Dead Sea to the east, it offers many fascinating nature reserves, historic sites, monasteries and breathtaking views.

Features include mountains, cliffs, chalk hills, plateaus, riverbeds and canyons, not to mention several oases.

Picture: The Negev Desert accounts for around half of Israel’s land mass

GALILEE Galilee attracts many filmmakers because of its strong biblical connections and its varied geography. It is home to spectacular mountains, lush green hills, rivers, forests and Israel’s largest body of water, the Sea of Galilee. There are great views from the mountains, as well as countless historical and archaeological sites.

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FRIDAY / JUNE 20 / 2014

LIONS DAILY NEWS

PERU IS A QUECHUA INDIAN WORD FOR ‘LAND OF ABUNDANCE’.

WITH ITS ECONOMY SURGING AND ITS ADVERTISING INDUSTRY PULLING IN A DISPROPORTIONATE NUMBER OF AWARDS, IT’S A DESCRIPTION THAT STILL HOLDS TRUE, WRITES GARY SMITH

LAND OF ABUNDANCE P

ERU is booming. The

economy has been growing at 5%-7% per year for the last 15 years, making it the fastest growing country in Latin America.

Concurrently, this country of just over 30 million people has emerged as a respected player in the advertising world, rated just behind Brazil and Argentina, and competing with Chile, Mexico and Colombia. Last year, Peru was placed third in the ranking of South America’s most-awarded countries with 10 lions, of which Y&R Lima won five.

This year, Peru has entered 350 campaigns into the Cannes Lions International Festival of Creativity — 115 of which come from Y&R Lima — a record number that reflects the country’s growing belief that it can compete with the best.

Flavio Pantigoso, executive creative director at Y&R Lima, is also the author of ‘From Peru to Peru’, the campaign for the Peruvian country brand, which has become the most-awarded Peruvian campaign in the country’s history.

“At first, we were the only ones to shine, but today good work is coming from FCB Mayo, Fahrenheit DDB, JWT and McCann,” Pantigoso says. “In 2009, I saw that something big was coming for Peru. The reason is simple. I live in a country where what should happen doesn’t, and what shouldn’t happen does. And sometimes that’s all it takes.

It shouldn’t happen that work from Lima competes with the best in the world, but it happens. It probably shouldn’t happen that even one Lion is won by an agency in Lima, but [in 2013] Peru won 10. It shouldn’t happen that approval is given by the Peruvian state for a campaign like the Peruvian country brand, but it happened. A bit like the fact that it should rain in buckets on the Peruvian coast — it being a subtropical region — but it

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Y&R PERU’S RECENT WATER CAMPAIGN FOR COLGATE IS IN COMPETITION AT LIONS THIS YEAR

doesn’t rain at all. Then a local agency made a panel that creates water from air and amazed the world. Ultimately, there is a desire to transcend and an optimism in this unpredictable country that is diverse and daring and a bit foolish.”

Diverse and daring are most certainly the words that describe driving 12,000 km across Peru in order to build up a library of 75,000 location images. But that is exactly how Argentinian Matias Mendelevich got to know his adopted home. Mendelevich, who was invited to join Peru’s Rebeca Producciones by executive producer Alejandro Noriega to expand international business, explains: “Rebeca is well established in Peru doing mainly local work, but we wanted to set up an international department here in Lima, so taking that road trip was essential. This country is so much more than Machu Picchu and Inca ruins. There are amazing regions like Iquitos in the Amazonian north, and Lima itself is a very international city.

Alejandro is determined to grow the

amount of foreign shoots coming to Peru because the country has so much to offer.”

One of Mendelevich’s first priorities is working with local crews in order to persuade them to adapt to international working methods. “The crews here are excellent, but they have their own way of doing things,” he says. “We know that foreign directors and producers expect things to be done in a certain way, which is what we’re busy instilling in the locals.”

In terms of equipment, Mendelevich says Rebeca has recently partnered with a major equipment house, which gives it access to Russian arms, motion-control equipment and “all the high-end gear you could possibly want”.

Local work by Rebeca includes a commercial for national airline LAN to celebrate 15 years of serving the Peruvian market. The spot was shot on and above a restricted airport area over three days, with 100 extras and a 60-person crew, and the back up of the Peruvian air force. Another major project was a spot for Bancolombia, the

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FRIDAY / JUNE 20 / 2014

biggest bank chain bank in Colombia, which was shot in Bogota over a four-day shoot in eight locations.

Peru boasts the most ecosystems of any country in the world, ranging from desert and rain forest to snow on 6,000 metre-high peaks. “Peru has 84 identifiable ecosystems, but you can get anywhere in the country in 90 minutes on a plane,” Mendelevich adds. “That means we can do mountains to desert to forest on the same day. Then we have Oxapampa, which was settled by Germans 100 years ago and looks like Switzerland, and a big surfing scene around Costa Verde.”

Rebeca recently worked with Ricardo Chadwick, executive creative director at Fahrenheit DDB, on the ‘Your Family is Perfect’ campaign for DIY chain Promart. It was one of the rare instances when Chadwick was behind the camera as well as writing the campaign. “I had acted as director before, but only as a stand-in and, frankly, it wasn’t a great experience,” Chadwick says. “But in this case, I was directing something I had written, so I wasn’t compromising anyone from the agency, and I thoroughly enjoyed it. It

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FOCUS ON PERU

also picked up an award at The One Show, which is fantastic.”

Chadwick readily admits that Peru is not used to being so talked about: “It’s a little strange being regarded as the buzz country of the region. But what I’m FLAVIO PANTIGOSO

“THERE IS A DESIRE TO TRANSCEND AND AN OPTIMISM IN THIS UNPREDICTABLE COUNTRY THAT IS DIVERSE AND DARING AND A BIT FOOLISH” seeing among the younger generation is that their attitude is the opposite of when I was growing up. They believe that being born Peruvian means they are likely to succeed and they are very proud of their national identity. There is more work to do in order to ensure that progress touches everyone, but even kids born in the favelas see themselves as ‘emergent’ rather than poor.”

Fahrenheit DDB has set its own record for Lions entries with 30 this year, including a McDonald’s campaign that has since been included on DDB’s global reel. “It’s a campaign for Children’s Day [Dia Del Nino] that used

61

a very simple device,” Chadwick says.

“We made the counter in a McDonald’s twice as high as normal so that adults would feel like kids. We didn’t script it because the reactions were so spontaneous and genuine. The idea has since been adopted more widely. We really believe the work has a chance of winning something in Cannes, and we have entered it in five categories.”

Chadwick also believes the Promart campaign has a chance of picking up a Lion. “It’s called ‘Your Family Is Perfect’ but the real message is that your home should be perfect as well — that people can adapt their home to the needs of their family” he says. “And it has a genuine surprise at the end.”

So can Lions delegates expect to see more strong work from Peru in the years to come? “It took us a long time to get here, but what started over 20 years ago is built on solid foundations,” Chadwick says. “This is not a bubble.

The economy is being driven by entrepreneurs who aren’t afraid to take risks when they have to. And they are backed by adverts that are really moving people into the stores, as well as collecting awards.”

5/06/14 13:39

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FILM LIONS / SCREENING SCHEDULE THIS SCHEDULE IS SUBJECT TO CHANGE.

FRIDAY 20 AUDI K FILM LIONS SHORTLIST 09.00 - 20.00

AUDI J FILM LIONS SHORTLIST 09.00 - 20.00

ESTEREL FILM LIONS SHORTLIST 09.00 - 20.00

DEBUSSEY FILM LIONS SHORTLIST 09.00 - 20.00

A01 | SAVOURY FOODS | 09:00 - 09:10

B01 | INTERNET FILM | 09:00 - 10:15

C01 | BRANDED ENTERTAIN. FOR TV & CINEMA | 09:00 - 09:40

A12 | OTHER VEHICLES, AUTO PRODUCTS & SERVICES | 09:00 - 09:05

A02 | SWEET FOODS & SNACKS | 09:10 - 09:15

B02 | VIRAL FILMS | 10:15 - 11:05

C02 | INTEGRATED CAMPAIGN | 09:00 - 09:40

A13 | HOME ELECTRONICS & AUDIO-VISUAL | 09:00 - 09:05

A03 | ALCOHOLIC DRINKS | 09:15 - 09:25

B03 | BRANDED ENTERTAIN. INTERNET FILM | 11:05 - 11:40

C03 | OTHER SCREENS | 09:40 - 09:50

A14 | RETAIL STORES | 09:05 - 09:30

A04 | NON-ALCOHOLIC DRINKS | 09:25 - 09:30

B04 | BRANDED ENTERTAIN. INTERNET FILM SERIES | 11:40 - 11:50

A01 | SAVOURY FOODS | 09:50 - 10:00

A15 | RESTAURANTS & FAST FOOD OUTLETS | 09:30 - 09:35

A05 | HOUSEHOLD | 09:30 - 09:40

C01 | BRANDED ENTERTAIN. FOR TV & CINEMA | 11:50 - 12:25

A02 | SWEET FOODS & SNACKS | 10:00 - 10:05

A16 | TRAVEL, TRANSPORT & TOURISM | 09:35 - 09:50

A06 | HOME APPLIANCES & FURNISHINGS | 09:30 - 09:40

C02 | INTEGRATED CAMPAIGN | 12:25 - 12:30

A03 | ALCOHOLIC DRINKS | 10:05 - 10:15

A17 | ENTERTAIN. & LEISURE | 09:50 - 10:05

A07 | TOILETRIES, COSMETICS & BEAUTY | 09:40 - 09:45

C03 | OTHER SCREENS | 12:30 - 12:40

A04 | NON-ALCOHOLIC DRINKS | 10:15 - 10:20

A18 | PUBLICATIONS & MEDIA | 10:05 - 10:25

A08 | PHARMACY | 09:45 - 09:50

A01 | SAVOURY FOODS | 12:40 - 12:45

A05 | HOUSEHOLD | 10:20 - 10:30

A19 | BANKING, INVESTMENT & INSURANCE | 10:25 - 10:40

A09 | CLOTHING, FOOTWEAR & ACCESSORIES | 09:50 - 09:55

A02 | SWEET FOODS & SNACKS | 12:45 - 12:50

A06 | HOME APPLIANCES & FURNISHINGS | 10:20 - 10:30

A20 | BUSINESS EQUIPMENT & SERVICES | 10:25 - 10:40

A10 | MISCELLANEOUS | 09:50 - 09:55

A03 | ALCOHOLIC DRINKS | 12:50 - 13:05

A07 | TOILETRIES, COSMETICS & BEAUTY | 10:30 - 10:35

A21 | COMMERCIAL PUBLIC SERVICES | 10:40 - 11:05

A11 | CARS | 09:55 - 10:10

A04 | NON-ALCOHOLIC DRINKS | 13:05 - 13:10

A08 | PHARMACY | 10:35 - 10:40

A22 | CORPORATE IMAGE | 11:05 - 11:25

A12 | OTHER VEHICLES, AUTO PRODUCTS & SERVICES | 10:10 - 10:15

A05 | HOUSEHOLD | 13:10 - 13:20

A09 | CLOTHING, FOOTWEAR & ACCESSORIES | 10:40 - 10:45

A23 | PUBLIC HEALTH & SAFETY | 11:25 - 11:35

A13 | HOME ELECTRONICS & AUDIO-VISUAL | 10:10 - 10:15

A06 | HOME APPLIANCES & FURNISHINGS | 13:10 - 13:20

A10 | MISCELLANEOUS | 10:40 - 10:45

A24 | PUBLIC AWARENESS MESSAGES | 11:35 - 11:50

A14 | RETAIL STORES | 10:15 - 10:40

A07 | TOILETRIES, COSMETICS & BEAUTY | 13:20 - 13:25

A11 | CARS | 10:45 - 11:00

A25 | FUNDRAISING, DONATIONS & APPEALS | 11:50 - 11:55

A15 | RESTAURANTS & FAST FOOD OUTLETS | 10:15 - 10:40

A08 | PHARMACY | 13:25 - 13:25

A12 | OTHER VEHICLES, AUTO PRODUCTS & SERVICES | 11:00 - 11:05

B01 | INTERNET FILM | 11:55 - 13:10

A16 | TRAVEL, TRANSPORT & TOURISM | 10:40 - 10:55

A09 | CLOTHING, FOOTWEAR & ACCESSORIES | 13:25 - 13:30

A13 | HOME ELECTRONICS & AUDIO-VISUAL | 11:00 - 11:05

B02 | VIRAL FILMS | 13:10 - 14:00

A17 | ENTERTAIN. & LEISURE | 10:55 - 11:10

A10 | MISCELLANEOUS | 13:30 - 13:35

A14 | RETAIL STORES | 11:05 - 11:30

B03 | BRANDED ENTERTAIN. INTERNET FILM | 14:00 - 14:35

A18 | PUBLICATIONS & MEDIA | 11:10 - 11:35

A11 | CARS | 13:35 - 13:50

A15 | RESTAURANTS & FAST FOOD OUTLETS | 11:05 - 11:30

B04 | BRANDED ENTERTAIN. INTERNET FILM SERIES | 14:35 - 14:45

A19 | BANKING, INVESTMENT & INSURANCE | 11:35 - 11:50

A12 | OTHER VEHICLES, AUTO PRODUCTS & SERVICES | 13:35 - 13:50

A16 | TRAVEL, TRANSPORT & TOURISM | 11:30 - 11:45

C01 | BRANDED ENTERTAIN. FOR TV & CINEMA | 14:45 - 15:20

A20 | BUSINESS EQUIPMENT & SERVICES | 11:35 - 11:50

A13 | HOME ELECTRONICS & AUDIO-VISUAL | 13:50 - 13:55

A17 | ENTERTAIN. & LEISURE | 11:45 - 12:00

C02 | INTEGRATED CAMPAIGN | 15:20 - 15:25

A21 | COMMERCIAL PUBLIC SERVICES | 11:50 - 12:10

A14 | RETAIL STORES | 13:55 - 14:15

A18 | PUBLICATIONS & MEDIA | 12:00 - 12:25

C03 | OTHER SCREENS | 15:25 - 15:35

A22 | CORPORATE IMAGE | 12:10 - 12:35

A15 | RESTAURANTS & FAST FOOD OUTLETS | 14:15 - 14:20

A19 | BANKING, INVESTMENT & INSURANCE | 12:25 - 12:40

A01 | SAVOURY FOODS | 15:35 - 15:40

A23 | PUBLIC HEALTH & SAFETY | 12:35 - 12:40

A16 | TRAVEL, TRANSPORT & TOURISM | 14:20 - 14:35

A20 | BUSINESS EQUIPMENT & SERVICES | 12:25 - 12:40

A02 | SWEET FOODS & SNACKS | 15:40 - 15:45

A24 | PUBLIC AWARENESS MESSAGES | 12:40 - 12:55

A17 | ENTERTAIN. & LEISURE | 14:35 - 14:50

A21 | COMMERCIAL PUBLIC SERVICES | 12:40 - 13:00

A03 | ALCOHOLIC DRINKS | 15:45 - 16:00

A25 | FUNDRAISING, DONATIONS & APPEALS | 12:55 - 13:05

A18 | PUBLICATIONS & MEDIA | 14:50 - 15:10

A22 | CORPORATE IMAGE | 13:00 - 13:25

A04 | NON-ALCOHOLIC DRINKS | 16:00 - 16:05

B01 | INTERNET FILM | 13:05 - 14:15

A19 | BANKING, INVESTMENT & INSURANCE | 15:10 - 15:25

A23 | PUBLIC HEALTH & SAFETY | 13:25 - 13:30

A05 | HOUSEHOLD | 16:05 - 16:15

B02 | VIRAL FILMS | 14:15 - 15:10

A20 | BUSINESS EQUIPMENT & SERVICES | 15:25 - 15:30

A24 | PUBLIC AWARENESS MESSAGES | 13:30 - 13:45

A06 | HOME APPLIANCES & FURNISHINGS | 16:05 - 16:15

B03 | BRANDED ENTERTAIN. INTERNET FILM | 15:10 - 15:45

A21 | COMMERCIAL PUBLIC SERVICES | 15:30 - 15:50

A25 | FUNDRAISING, DONATIONS & APPEALS | 13:45 - 13:55

A07 | TOILETRIES, COSMETICS & BEAUTY | 16:15 - 16:20

B04 | BRANDED ENTERTAIN. INTERNET FILM SERIES | 15:45 - 15:55

A22 | CORPORATE IMAGE | 15:50 - 16:10

B01 | INTERNET FILM | 13:55 - 15:05

A08 | PHARMACY | 16:15 - 16:20

C01 | BRANDED ENTERTAIN. FOR TV & CINEMA | 15:55 - 16:30

A23 | PUBLIC HEALTH & SAFETY | 16:10 - 16:20

B02 | VIRAL FILMS | 15:05 - 16:00

A09 | CLOTHING, FOOTWEAR & ACCESSORIES | 16:20 - 16:25

C02 | INTEGRATED CAMPAIGN | 16:30 - 16:35

A24 | PUBLIC AWARENESS MESSAGES | 16:20 - 16:35

B03 | BRANDED ENTERTAIN. INTERNET FILM | 16:00 - 16:35

A10 | MISCELLANEOUS | 16:25 - 16:30

C03 | OTHER SCREENS | 16:35 - 16:45

A25 | FUNDRAISING, DONATIONS & APPEALS | 16:35 - 16:45

B04 | BRANDED ENTERTAIN. INTERNET FILM SERIES | 16:35 - 16:45

A11 | CARS | 16:30 - 16:45

A01 | SAVOURY FOODS | 16:45 - 16:50

B01 | INTERNET FILM | 16:45 - 17:55

C01 | BRANDED ENTERTAIN. FOR TV & CINEMA | 16:45 - 17:20

A12 | OTHER VEHICLES, AUTO PRODUCTS & SERVICES | 16:30 - 16:45

A02 | SWEET FOODS & SNACKS | 16:50 - 16:55

B02 | VIRAL FILMS | 17:55 - 18:45

C02 | INTEGRATED CAMPAIGN | 17:20 - 17:25

A13 | HOME ELECTRONICS & AUDIO-VISUAL | 16:45 - 16:50

A03 | ALCOHOLIC DRINKS | 16:55 - 17:05

B03 | BRANDED ENTERTAIN. INTERNET FILM | 18:45 - 19:20

C03 | OTHER SCREENS | 17:25 - 17:35

A14 | RETAIL STORES | 16:50 - 17:10

A04 | NON-ALCOHOLIC DRINKS | 17:05 - 17:10

B04 | BRANDED ENTERTAIN. INTERNET FILM SERIES | 19:20 - 19:30

A01 | SAVOURY FOODS | 17:35 - 17:40

A15 | RESTAURANTS & FAST FOOD OUTLETS | 17:10 - 17:15

A05 | HOUSEHOLD | 17:10 - 17:20

C01 | BRANDED ENTERTAIN. FOR TV & CINEMA | 19:30 - 20:00

A02 | SWEET FOODS & SNACKS | 17:40 - 17:45

A16 | TRAVEL, TRANSPORT & TOURISM | 17:15 - 17:30

A06 | HOME APPLIANCES & FURNISHINGS | 17:20 - 17:25

A03 | ALCOHOLIC DRINKS | 17:45 - 17:55

A17 | ENTERTAIN. & LEISURE | 17:30 - 17:45

A07 | TOILETRIES, COSMETICS & BEAUTY | 17:20 - 17:25

A04 | NON-ALCOHOLIC DRINKS | 17:55 - 18:00

A18 | PUBLICATIONS & MEDIA | 17:45 - 18:05

A08 | PHARMACY | 17:25 - 17:30

A05 | HOUSEHOLD | 18:00 - 18:10

A19 | BANKING, INVESTMENT & INSURANCE | 18:05 - 18:20

A09 | CLOTHING, FOOTWEAR & ACCESSORIES | 17:30 - 17:35

A06 | HOME APPLIANCES & FURNISHINGS | 18:10 - 18:15

A20 | BUSINESS EQUIPMENT & SERVICES | 18:20 - 18:25

A10 | MISCELLANEOUS | 17:30 - 17:35

A07 | TOILETRIES, COSMETICS & BEAUTY | 18:10 - 18:15

A21 | COMMERCIAL PUBLIC SERVICES | 18:25 - 18:45

A11 | CARS | 17:35 - 17:50

A08 | PHARMACY | 18:15 - 18:20

A22 | CORPORATE IMAGE | 18:45 - 19:05

A12 | OTHER VEHICLES, AUTO PRODUCTS & SERVICES | 17:50 - 17:55

A09 | CLOTHING, FOOTWEAR & ACCESSORIES | 18:20 - 18:25

A23 | PUBLIC HEALTH & SAFETY | 19:05 - 19:15

A13 | HOME ELECTRONICS & AUDIO-VISUAL | 17:50 - 17:55

A10 | MISCELLANEOUS | 18:20 - 18:25

A24 | PUBLIC AWARENESS MESSAGES | 19:15 - 19:30

A14 | RETAIL STORES | 17:55 - 18:20

A11 | CARS | 18:25 - 18:40

A25 | FUNDRAISING, DONATIONS & APPEALS | 19:30 - 19:40

A15 | RESTAURANTS & FAST FOOD OUTLETS | 17:55 - 18:20

A12 | OTHER VEHICLES, AUTO PRODUCTS & SERVICES | 18:40 - 18:45

A01 | SAVOURY FOODS | 19:40 - 19:45

A16 | TRAVEL, TRANSPORT & TOURISM | 18:20 - 18:35

A13 | HOME ELECTRONICS & AUDIO-VISUAL | 18:40 - 18:45

A02 | SWEET FOODS & SNACKS | 19:45 - 19:50

A17 | ENTERTAIN. & LEISURE | 18:35 - 18:50

A14 | RETAIL STORES | 18:45 - 19:10

A03 | ALCOHOLIC DRINKS | 19:50 - 20:00

A18 | PUBLICATIONS & MEDIA | 18:50 - 19:15

A15 | RESTAURANTS & FAST FOOD OUTLETS | 18:45 - 19:10

A19 | BANKING, INVESTMENT & INSURANCE | 19:15 - 19:30

A16 | TRAVEL, TRANSPORT & TOURISM | 19:10 - 19:25

A20 | BUSINESS EQUIPMENT & SERVICES |

A17 | ENTERTAIN. & LEISURE | 19:25 - 19:40

A21 | COMMERCIAL PUBLIC SERVICES | 19:30 - 19:50

A18 | PUBLICATIONS & MEDIA | 19:40 - 20:00

A23 | PUBLIC HEALTH & SAFETY | 19:50 - 20:00

TimeTable-BAT+v.indd 62

6/19/14 9:31 PM

SATURDAY 21 AUDI K FILM LIONS SHORTLIST 09.00 - 16.00

AUDI J FILM LIONS SHORTLIST 09.00 - 16.00

ESTEREL FILM LIONS SHORTLIST 09.00 - 16.00

A01 | SAVOURY FOODS | 09:00 - 09:10

B01 | INTERNET FILM | 09:00 - 10:15

C01 | BRANDED ENTERTAIN. FOR TV & CINEMA | 09:00 - 09:40

A02 | SWEET FOODS & SNACKS | 09:10 - 09:15

B02 | VIRAL FILMS | 10:15 - 11:05

C02 | INTEGRATED CAMPAIGN | 09:00 - 09:40

A03 | ALCOHOLIC DRINKS | 09:15 - 09:25

B03 | BRANDED ENTERTAIN. INTERNET FILM | 11:05 - 11:40

C03 | OTHER SCREENS | 09:40 - 09:50

A04 | NON-ALCOHOLIC DRINKS | 09:25 - 09:30

B04 | BRANDED ENTERTAIN. INTERNET FILM SERIES | 11:40 - 11:50

A01 | SAVOURY FOODS | 09:50 - 10:00

A05 | HOUSEHOLD | 09:30 - 09:40

B01 | INTERNET FILM | 11:50 - 13:00

A02 | SWEET FOODS & SNACKS | 10:00 - 10:05

A06 | HOME APPLIANCES & FURNISHINGS | 09:30 - 09:40

B02 | VIRAL FILMS | 13:00 - 13:55

A03 | ALCOHOLIC DRINKS | 10:05 - 10:15

A07 | TOILETRIES, COSMETICS & BEAUTY | 09:40 - 09:45

B03 | BRANDED ENTERTAIN. INTERNET FILM | 13:55 - 14:30

A04 | NON-ALCOHOLIC DRINKS | 10:15 - 10:20

A08 | PHARMACY | 09:45 - 09:50

B04 | BRANDED ENTERTAIN. INTERNET FILM SERIES | 14:30 - 14:40

A05 | HOUSEHOLD | 10:20 - 10:30

A09 | CLOTHING, FOOTWEAR & ACCESSORIES | 09:50 - 09:55

B01 | INTERNET FILM | 14:40 - 15:50

A06 | HOME APPLIANCES & FURNISHINGS | 10:20 - 10:30

A10 | MISCELLANEOUS | 09:50 - 09:55

B04 | BRANDED ENTERTAIN. INTERNET FILM SERIES | 15:50 - 16:00

A07 | TOILETRIES, COSMETICS & BEAUTY | 10:30 - 10:35

A11 | CARS | 09:55 - 10:10

A08 | PHARMACY | 10:35 - 10:40

A12 | OTHER VEHICLES, AUTO PRODUCTS & SERVICES | 10:10 - 10:15

A09 | CLOTHING, FOOTWEAR & ACCESSORIES | 10:40 - 10:45

A13 | HOME ELECTRONICS & AUDIO-VISUAL | 10:10 - 10:15

A10 | MISCELLANEOUS | 10:40 - 10:45

A14 | RETAIL STORES | 10:15 - 10:40

A11 | CARS | 10:45 - 11:00

A15 | RESTAURANTS & FAST FOOD OUTLETS | 10:15 - 10:40

A12 | OTHER VEHICLES, AUTO PRODUCTS & SERVICES | 11:00 - 11:05

A16 | TRAVEL, TRANSPORT & TOURISM | 10:40 - 10:55

A13 | HOME ELECTRONICS & AUDIO-VISUAL | 11:00 - 11:05

A17 | ENTERTAIN. & LEISURE | 10:55 - 11:10

A14 | RETAIL STORES | 11:05 - 11:30

A18 | PUBLICATIONS & MEDIA | 11:10 - 11:35

A15 | RESTAURANTS & FAST FOOD OUTLETS | 11:05 - 11:30

A19 | BANKING, INVESTMENT & INSURANCE | 11:35 - 11:50

A16 | TRAVEL, TRANSPORT & TOURISM | 11:30 - 11:45

A20 | BUSINESS EQUIPMENT & SERVICES | 11:35 - 11:50

A17 | ENTERTAIN. & LEISURE | 11:45 - 12:00

A21 | COMMERCIAL PUBLIC SERVICES | 11:50 - 12:10

A18 | PUBLICATIONS & MEDIA | 12:00 - 12:25

A22 | CORPORATE IMAGE | 12:10 - 12:35

A19 | BANKING, INVESTMENT & INSURANCE | 12:25 - 12:40

A23 | PUBLIC HEALTH & SAFETY | 12:35 - 12:40

A20 | BUSINESS EQUIPMENT & SERVICES | 12:25 - 12:40

A24 | PUBLIC AWARENESS MESSAGES | 12:40 - 12:55

A21 | COMMERCIAL PUBLIC SERVICES | 12:40 - 13:00

A25 | FUNDRAISING, DONATIONS & APPEALS | 12:55 - 13:05

A22 | CORPORATE IMAGE | 13:00 - 13:25

B01 | INTERNET FILM | 13:05 - 14:15

A23 | PUBLIC HEALTH & SAFETY | 13:25 - 13:30

B02 | VIRAL FILMS | 14:15 - 15:10

A24 | PUBLIC AWARENESS MESSAGES | 13:30 - 13:45

B03 | BRANDED ENTERTAIN. INTERNET FILM | 15:10 - 15:45

A25 | FUNDRAISING, DONATIONS & APPEALS | 13:45 - 13:55

B04 | BRANDED ENTERTAIN. INTERNET FILM SERIES | 15:45 - 15:55

B01 | INTERNET FILM | 13:55 - 15:05

A01 | SAVOURY FOODS | 15:55 - 16:00

B02 | VIRAL FILMS | 15:05 - 16:00

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

TimeTable-BAT+v.indd 63

6/19/14 9:31 PM

PALAIS MAP

LIONS DAILY NEWS

XXXXXDAY / JUNE XX / 2014

FOCUS ON XXXXXXXXXXXXXXXXXXXX

32

LEVEL –1 SHORTLIST EXHIBITIONS

LEVEL 5

ESTEREL

LEVEL 4 PRESS CENTRE AUDI K AUDI J

LEVEL 3

LEVEL 1

AROUND THE FESTIVAL SHOTS

MMA / MOBILE ENTRIES

INNOCEAN

ART 140

SKYPE

KIRK ORIGINALS KO ROLLER

CANNES CONNECT BAR

GRAND AUDI BALCONY DEBUSSY BALCONY INNOVATION ENTRIES AUDI A AUDI B AUDI C CANNES CONNECT BAR

GRAND AUDI DEBUSSY GETTY IMAGES BOX THE CLUBHOUSE

LEVEL 0 DESIGN & PRODUCT DESIGN ENTRIES THE DANISH LOUNGE SPEAKERS LOUNGE MAIN ENTRANCE

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6/14/14 8:24 PM

WEBER SHANDWICK PRESENTS A FULL-FRONTAL, POSSIBLY PROFANE CONVERSATION ON POLITICS, CONTENT AND POLITICAL CONTENT

INTRODUCTION BY

STORIES CURATED BY

Jack Leslie

Gail Heimann

Chairman, Weber Shandwick

President, Weber Shandwick

FEATURING

James Carville

Political Consultant & Lead Strategist, Clinton/Gore ‘92

Timothy Simons

Actor & Comedian AKA Jonah Ryan, HBO's “Veep”

Matt Walsh

Actor, Writer, Comedian AKA Mike McLintock, HBO's “Veep”

#PROFANEANDPOLITICAL

FRIDAY, JUNE 20 5:15 PM GRAND AUDI