Lions Daily News 2015 Issue 7

JUNE 25-26 INNOVATION FESTIVAL

LIONS DAILY DAILYNEWS NEWS LIONS IN PRINT AND ONLINE

2015

LIONSDAILYNEWS.COM

FRIDAY/JUNE 26/2015 - PUBLISHED BY BOUTIQUE EDITIONS

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THE BEST PLACE TO NETWORK IN CANNES

LIONS DAILY DAILYNEWS NEWS LIONS IN PRINT AND ONLINE

2015

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FRIDAY/JUNE 26/2015 - PUBLISHED BY BOUTIQUE EDITIONS

IGNORING CHANGE IS NOT AN OPTION

A SELECTION OF TODAY’S SEMINARS

10.

15 10.00 J. WALTER THOMPSON CURIOSITY AND A CURIOUS MIND WITH BRIAN GRAZER 11.00 MCKINNEY BINGE-WORTHY JOURNALISM

LUCA DE MEO

12.00 WPP THE CANNES DEBATE: SIR MARTIN SORRELL AND AL GORE 13.15 ONE TWENTY THREE WEST GOOD AT YOUR JOB? STOP DOING IT FOR SOMEONE ELSE 14.15 FCB HOW CREATIVITY IN LATAM HAS BECOME A REFERENCE FOR BRANDS 15.15 DEUTSCH LA (DEBUSSEY) SILENCING THE NOISE THROUGH SIMPLE DESIGN 16.15 DDB DO THIS OR DIE. All seminars are in the Grand Auditorium unless otherwise stated

ABEL REIS

NICK HALSTEAD

JEFFREY F RAYPORT

LIONS Innovation, the new festival within the Festival, kicked off yesterday. The two-day event is designed to examine where data, technology and creativity intersect — through a series of demonstrations, networking events and talks.

The three Lions Innovation stages — Inspiration, Discovery and Experience — were buzzing from the outset.

On the Discovery Stage, OpenX managing director Andrew Buckman explored the ways in which

the Internet of Things (IoT) is transforming the world of advertising on a practical level. “It’s giving rise to highly personalised and unique insights for brands.

However brands need to be aware of the potential for consumer criticism around the collection and use of data. They need to get ahead of the curve by pre-empting consumer concerns.”

In the same session Samsung North America general manager Michael Schmier called IoT “the third wave of consumer internet

3 Grand Prix at Cannes Lions and an Emmy Award winner

Top ten most awarded Brazilian agencies at Cannes Lions ever

Ad Age International Agency of the Year and one of Adweek’s 10 Hot Agencies in the world

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after desktop and mobile/tablet.

With an extra 10-20 connected devices it has implications for all brands and consumers.”

With so many connected devices, Schmier echoed Buckman by predicting a surge in the amount of data available to brands. While this is theoretically good, it presents challenges: “People think more data is good, but the more data you have the more the data conflicts. When two sources of data are saying different things, we’re going to need TURN TO P.3

25x25 reasons to thank the New Directors’ Showcase

4 time Agency of the Year, 2 Grand Prix and 117 lions at Cannes Lions

PABLO DEL CAMPO (LEFT) AND BOB TURN ISHERWOOD TO P.3

Brasil

JEREMY STEINBERG

Where data, technology and creativity intersect

YESTERDAY’s 25th Saatchi &

grupo

CCORDING to Andy Hobsbawm, co-founder and chief marketing officer of internet of things (IoT) pioneer EVRYTHNG, we are entering “an era of smart, connected products with a real voice”.

“Change is happening at an accelerating rate,” Hobsbawm said at yesterday’s Inspiration Stage session, Product Voice: The Third Age Of Marketing.

“In the last 50 years, there have been more scientific and technological advances than in the whole of the human experience. The scale of the disruption shouldn’t be underestimated and we need to figure out what to do about it.” Ignoring change is not an option, Hobsbawm said, citing Kodak as an example of a 100-year brand that “fell off a cliff” in a matter of months for failing to read the omens. Blackberry, too, has paid the price for not spotting fundamental shifts in the market. “It didn’t see the shift from hardware to software,” Hobsbawm said. “It was busy laughing at the iPhone’s battery life while iStore was taking over the world.” The IoT should be seen in this context, Hobsbawm said. “It’s inevitable that every physical thing will become connected — cars, houses, even the beers we drink. The question is how we manage the explosion of data from all these products.”

This is the space in which EVRYTHNG operates.

The IoT Smart Products

A

INSIDE BOX

Saatchi New Directors Showcase (NDS) honoured the past before turning its lens to the future.

The 2015 event broke with the tradition of recent years, which have seen ever more sensational live shows, to refocus on the “amazing directors who have made the Showcase possible”, said Saatchi & Saatchi worldwide creative director, Pablo Del Campo.

This took the form of 25x25: An Experiment In Film, in which 25 of the top directors of the past 25 years were tasked to create a 60-second work. Each film had to end with a prop drawn from the director’s original NDS film, and each new film had to start with the preceding director’s prop. All 25 of the directors, which included such stellar names as Daniel Kleinman, Dawn Shadforth, TURN TO P.6

EVRYTHNG’S ANDY HOBSBAWM

NEWS / THE LION OF ST MARK / FOCUS ON VIRTUAL REALITY / FILM SHORTLIST /TITANIUM AND INTEGRATED SHORTLIST / FILM CRAFT SHORTLIST / BRANDED CONTENT & ENTERTAINMENT SHORTLIST / FOCUS ON HUNGARY / FOCUS ON PRODUCTION /FOCUS ON ASIA / FOCUS ON US HISPANIC / FOCUS ON CAR COMMERCIALS / SCREENINGS SCHEDULE

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SHARE COMPASSION ONLINE Stand up against cybershaming at upstandr.com

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FRIDAY / JUNE 26 / 2015

NEWS

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WHERE DATA, TECHNOLOGY AND CREATIVITY INTERSECT CONTINUED...

more advanced analytics to guide messaging. Over the next five-10 years, we’re going to see a growth in third parties that can integrate and simplify the data.”

On the Inspiration Stage, DataSift CEO Nick Halstead discussed the challenges of analysi n g qu a l i t a t i ve dat a a t quantitative scale, and how companies utilise social data to creative decisions. DataSift, enables organisations to capture, analyse and act on social data, without compromising consumer trust.

“A better understanding of your audience means that you can create better and more effective content, and content drives the conversation forward,” Halstead said. “It feels like we’re on the verge of a new revolution where, thanks to richer data, we’ll have a much deeper understanding of the market.”

Data is, therefore, set to offer so much more than ‘intent to buy’.

On the same stage, member of the board of Audi management for sales and marketing, Luca de Meo, presented The Moon.

Land Of Quattro.

“In Spring 2017 we will be sending the Audi Lunar Quattro to the Moon in order to try and win Google’s XPrize for being the first private company to land a vehicle there. Getting it there

25X25 REASONS TO THANK THE NEW DIRECTORS’ SHOWCASE CONTINUED...

Jonathan Glazer, Michel Gondry and Ivan Zacharias, embraced the challenge of delivering work that stood as “a testament to the enduring influence of the Showcase on both commercial and experimental film”, said Del Campo, who has taken over the baton of conceiving and organising the NDS from the great Bob Isherwood. Some

THE EXPERIENCE STAGE AT LIONS INNOVATION

is a huge task and once there it’s an incredibly harsh environment,” he said.

With radiation 100 times stronger than on earth and a layer of fine dust five metres thick, making the Lunar Quattro Moonproof is perhaps the greatest challenge the company has undertaken.

On the Experience Stage, Jeremy Steinberg of The Weather Company, told a Lions Innovation audience: “Weather impacts everything. And in the retail sector, they don’t want to be spending marketing budget during severe weather, whereas they should be overspending in optimal conditions.”

The Weather Company offers real time weather data, as well as nine-day forecasts to help with budget planning.

Data Creativity and Creative Programmatic were two sessions on the Experience Stage presenting hot-topic digital innovations for the industry to exploit and engage with customers in a personalised, supereffective way. The Wharton Future Of Advertising Program introduced IBM’s Watson, a sophisticated cognitive system enabling a new partnership between people and computers: “Watson can understand the persona of any individual based on analysis of what they publish

digitally: it can decipher, interpret and contextualize content,” professor Jerry Wind, lauder professor and professor of marketing at the Wharton School, said.

Lions Innovation headline sponsor MediaMath underlined the three opportunities offered by new technologies in the Creative Programmatic session. Jeffrey F Rayport, of the Harvard Business School, told the crowd: “We now have a quantitative way of identifying people who want our products; we can personalise our offers to each single consumer and we can choose the optimum communication channel to maximise impact.”

Innovation Without Limits – Does Innovation Travel Well? on the Inspiration Stage compared uniquely different innovations and their value in the marketplace: “Tesla’s product innovations in the energy space and four Nigerian students who created a urine-powered electric machine are equal innovators: they are taking risks in an emerging market; one born from the desire to re-invent an industry, another from a survival instinct to create better living conditions,” Abel Reis, CEO, Isobar LatAm and Dentsu Aegis Brazil said, adding: “Necessity is the mother of invention.”

of the films were magical, some were self-mocking; some were laugh-out-loud funny, others were downright disturbing. But all were compelling, powerful and a reflection of the directorial genius that has made the NDS the must-attend event of the Cannes Lions for the last 25 years. Highlights included Jonathan Glazer’s br utally ef fective piece involving a light-bulb and a

hammer, and Traktor’s hilarious parody of I Will Survive — I Will Direct.

“The Showcase has mapped the cultural and commercial zeitgeist in each of its 25 years,” said NDS producer Andy Gulliman. “The willingness of each of the 25 directors to contribute to t his exper iment in f ilm underscores the value of promoting emerging talent.”

That emerging creative tal-

ent was amply demonstrated in the following showreel from the NDS class of 2015, which presented work from 14 of the industry’s hottest young names. In an emotional rollercoaster ride, Ben Knight’s haunting film about the death of a dog reduced many to tears, while Kyungmin Woo’s animated piece about an intergalactic deliveryman produced gales of laughter.

IGNORING CHANGE IS NOT AN OPTION CONTINUED...

Platform connects any consumer product to the web, and manages real-time data to drive applications.

“Products with networked intelligent functionality will fundamentally change the world,” Hobsbawm said. “But our ultimate vision for this new era of smart, connected products is not to live in a digital world — I don’t think anybody wants that — but to live in a better real world.”

PUBLISHER RICHARD WOOLLEY EDITOR IN CHIEF JULIAN NEWBY MANAGING EDITOR DEBBIE LINCOLN SUB EDITOR JO STEPHENS REPORTERS ANDY FRY - EMELIA JONES - JULIANA KORANTENG - GARY SMITH LIONSDAIL­­­­YNEWS.COM/SOCIAL MEDIA SUNNIE & HARRIET/STUDIO A PHOTOGRAPHERS YANN COATSALIOU - MICHEL JOHNER - OLIVIER HOUEIX LAYOUT DESIGN A NOIR - T: +33 (0)1 48 06 22 22 - AGENCE@ANOIR.FR ARNAUD PAIKINE - VALERIE MERSIER - CHRISTIAN ZIVOJINOVIC SYSTEMS CO-ORDINATION PROD EVENTS - SOPHIA ANTIPOLIS - T: +33 (0)4 93 33 12 40 CANNES LIONS DAILY NEWS/EDITORIAL T: 04 92 59 00 30 ADVERTISING IN CANNES 04 92 59 00 26 - JODLIN@BOUTIQUEEDITIONS.COM JERRY ODLIN +44 77 6886 0417 - LISA RAY +44 77 98 662 955 - NICKI WEBBER +1 912 308 6967 ADVERTISING PRODUCTION ROGER HALL PRINTER RICCOBONO OFFSET PRESSE, LE MUY GREEN PUBLISHING THE PAPER USED BY BOUTIQUE EDITIONS IS A NATURAL, RECYCLABLE PRODUCT MADE FROM WOOD GROWN IN SUSTAINABLE FORESTS. THE MANUFACTURING PROCESS CONFORMS TO THE ENVIRONMENTAL REGULATIONS OF THE COUNTRY OF ORIGIN PUBLISHED BY BOUTIQUE EDITIONS LTD - 117 WATERLOO ROAD - LONDON SE1 8UL - T: +44 20 7902 1942 - F: +44 20 3006 8796 © 2015 CANNES LIONS

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NEWS

FRIDAY / JUNE 26 / 2015

Lewinsky calls for an end to the cyberbullying that stole her soul SHE WAS branded “a tart, a slut, a whore, a bimbo, a floozy and ‘that woman’”, and all because she had fallen in love with her boss.

Trouble was her boss happened to be the world’s most MONICA LEWINSKY

“WE NEED TO TALK ABOUT OUR RESPONSIBILITY TO FREEDOM OF EXPRESSION” powerful man — Bill Clinton, the president of the United States.

At yesterday’s Ogilvy & Inspire Lecture, social activist Monica Lewinsky recalled how she went from being a White House intern to the

woman at the centre of a global political scandal and the world’s first cyberbully casualty.

In 1998, Lewinsky became “Patient Zero” — the first victim of a digital virus that has since seen millions of people hide behind the internet’s anonymity to bully, shame and humiliate individuals they have never met.

And the damage has been excruciating. She said: “I was once asked, ‘If you were a brand, what brand would you be?’ I remember thinking, if you are Monica Lewinsky, that’s a fucking loaded question.”

Addressing the Cannes Lions audience, she said: “At one point, you will have had a

MONICA LEWINSKY

LIONS DAILY NEWS

brand crisis. But imagine what it’s like when the brand is you — your name, your history, your values, your soul.”

She recalled how the story of her relationship with Bill Clinton broke online — the first time in history that the traditional news media channels were usurped by the internet. “The traditional news then plastered photographs of me to sell newspapers and to keep people tuned into TV channels,” she said. “I have been mentioned in 120 rap songs. I was seen by many, but known by few.”

The resulting abuse has made her want to speak on behalf of other victims of online bullying, she said. “We need to talk about our responsibility to freedom of expression,” she added. “There is a difference between speaking with intention and speaking for attention.”

‘Getting fired is part of this business’ ON STAGE together for the first time ever at the Cannes Lions International Festival of Creativity, Jeff Goodby and Rich Silverstein looked back on the highs and lows of their 33-year partnership.

“Getting fired is part of this

business and we, like a lot of people here today, did some of our best work before being fired,” Silverstein said. “You know how it goes. A new CMO comes in and it just doesn’t matter how good you’ve been, you’re on the

chopping block.”

But equally, sometimes you have to quit to get ahead.

“There have been times when the process between agency and client was so clearly broken that the only thing to do was to walk away,” Goodby

said. “It’s the best way to beat the frustration.”

The duo talked about some of their iconic campaigns, including one from the Nineties for a then small software firm called Amazin’ Software. “We changed their

name to Electronic Arts and then created a campaign in which their programmers were featured like rock stars on album covers,” Goodby said. “It was the first time that computer-games people had been portrayed like that, and we’ve since heard that our campaign caused a lot of programmers to want to work at EA.” The pair also met Steve Jobs just after he had been fired from Apple. “It went really JEFF GOODBY

“ITS THE BEST WAY TO BEAT THE FRUSTRATION”

GOODBY SILVERSTEIN & PARTNERS’ RICH SILVERSTEIN (LEFT) AND JEFF GOODBY

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badly because we didn’t know that he was just starting NeXT,” Silverstein said.

“But when he phoned in 1999, just after returning to Apple, it was a very different situation and it led to the Think Different campaign.”

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THE

2020

WINNER IS? SPEAKING OF THE FUTURE Friday, June 26, 5:20pm – 5:50pm Inspiration Stage, Lerins Hall, Palais des Festivals Every day, everywhere, brands and agencies are wrestling with innovation. In five years, who will be the winners and the losers, and what will distinguish the winners from the losers? How big a role will technology play in that, if at all? Pete Blackshaw, Adam Bain, Laura Petrecca and Mark Read take the stage to discuss where we should — and shouldn’t—be looking for innovation and inspiration.

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Moderator Laura Petrecca, Editor, USA Today Panelists Mark Read, CEO, Wunderman Pete Blackshaw, Global Head of Digital Marketing & Social Media, Nestle Adam Bain, President, Global Revenue and Partnerships, Twitter

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LIONS DAILY NEWS

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Marketo builds bridges between the marketers and consumers MARKETO, a pioneer in digital marketing software and founding partner of Lions Innovation, heralds the dawning of an exciting new era of engagement with the SANJAY DHOLAKIA

“ NOW BRANDS CAN HAVE ONE-TO-ONE RELATIONSHIPS WITH CONSUMERS” introduction of Ad Bridge, a new platform for the industry to target potential customers with meaningful, individual and customer-driven interactions.

“This is a revolutionary tool that connects Marketo’s rich

behavioural data to other media platforms, allowing marketers to tailor-make highly personalised advertising,” Sanjay Dholakia, Marketo’s CMO said.

Dholakia believes the industry is stepping up to engagement marketing and in five years will look back in astonishment at how singular campaigns are currently driven across platforms: “It won’t be about one campaign but rather thousands of campaigns, It won’t be about finding customers but rather about being found,” he said.

With ad tech spending increasing, Dholakia said conversion rates are still

unimpressive. “You can no longer ‘interrupt’ consumers with your message. It’s all about forming relationships and building personalised interactions — we must break down alienating silos.”

Marketo’s innovative digital marketing promises to deliver better overall performance and strong ROI, enabling brands to unify conversations across channels.

“Now brands can have oneto-one personal relationships with consumers and be part of the massive-scale conversations — this has been the marketing dream for forty years: it’s the Holy Grail,” Dholakia added.

MARKETO’S SANJAY DHOLAKIA

Kiip is the app that keeps on giving

KIIP’S BRIAN WONG

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BRIAN Wong, 24-year-old founder and CE0 of mobile rewards platform Kiip, is part of a wave of young marketers looking for new ways to engage with “the connected generation”. The challenge with this audience is that they demonstrate scant regard for traditional forms of brand messaging, said Wong in an interview with the Lions Daily News: “Thanks to increased usage of mobile devices, they have short attention spans, high levels of choice and limited interest in advertising.”

Kiip’s answer to this has been to develop a way of offering consumers rewards from brands at sig nif icant “moments” in their daily routine. “We offer rewards that fit a consumer’s existing patterns of behaviour. They don’t have to sign up to anything. They just use their apps as they would normally and this triggers rewards at relevant moments.”

For example, the user of a fit-

ness app might receive an appropriate branded reward when they achieve a certain running goal. Or someone about to head off for a night out might be offered a free taxi home, courtesy of a drinks brand. “It’s designed to be completely serendipitous and surprising. The power of the platform is that it is organic.”

Wong says Kiip currently reaches 100 million mobile devices a month via 3,500 apps (up from 50 million a year ago). And he sees potential for a massive increase in Kiip’s penetration. “The rewards we’re talking about could be delivered via connected cars, connected devices in the home or other portable connected devices. For example, we work with portable breathalyser Breathometer around drink responsibly messaging.”

Described as a ‘Top 5 Entrepreneur to Watch’ by Mashable, Wong provided further details about Kiip in a session

on the Cannes Lions Discovery Stage, which also featured Kathleen Schuart, senior director, marketing and sales on-premise at Campari. Wong and Schuart explained how the two companies had worked together to make CSR BRIAN WONG

“WE OFFER REWARDS THAT FIT A CONSUMER’S EXISTING PATTERNS OF BEHAVIOUR” activity around Campari brands Sky and Wild Turkey more impactful.

Given the ephemeral nature of Kiip’s offer, one question is whether in-the-moment rewards have lasting benefits for brands. Wong said Kiip has done research that showed “the emotional transfer that takes place does elevate consumer perceptions of brands”.

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Guetta’s self-built brand based on creativity and authenticity A FASCINATING session in the Grand Audi yesterday, hosted by Publicis chairman and CEO Maurice Levy, saw the DJ and music producer David Guetta explain how — before he became world famous — he used to walk the beaches of Ibiza handing out MAURICE LEVY

“GUETTA [IS] AT THE INTERSECTION OF DIGITAL, MUSIC AND COMMUNICATION” flyers for his events. Back then, people used to find the idea of a French DJ funny. But it is Guetta who is laughing now. With 55 million Facebook likes and 18 million Twitter followers he is, Levy said, “at the intersection of digital, music and communication. My clients dream of having that many socialmedia followers.”

Explaining his evolution from beachcomber to superstar, Guetta said: “Today my music

is very mainstream but, at the start, it was hard. What I did was very underground, because club owners and radio stations wouldn’t play my music and the police would shut down my events. I would organise raves in secret places and text details to people at the last minute.”

Guetta’s direct communication with his fanbase was the genesis of a social-media strategy that emphasises the reality of his life off-stage. In Guetta’s opinion, authenticity goes some way towards explaining his popularity on digital platforms: “For me, the worst kind of TV is reality TV because it’s not real. Social media is the true reality TV, because it gives access to real lives. What my fans see is that I am a normal person.”

While social sits at the heart of Guetta’s self-built brand, so do content and artistic control. “I bet on content right from the start, because I realised platforms and providers would always need people like me,”

PUBLICIS’ MAURICE LEVY

he said. “At the same time, I wanted to be free to be my own brand. Depending on other people was driving me crazy — especially the big labels and artists that move so slow. Being a small company means I can move freely and fast.”

Guetta’s rejection of the bigartist business model is part of a disruptive creative-led approach that also views main-

DAVID GUETTA: “I BET ON CONTENT RIGHT FROM THE START”

stream media and marketing with a degree of scepticism. On the subject of television, he said: “I haven’t watched TV for six years. I don’t know anyone who watches TV. Young people are all on YouTube.”

As for brands, he added: “I’m happy with my product, so I only really want to work with brands that can help me do what I do.” He gave the exam-

ple of a recent co-branding campaign with Mumm Champagne: “Music videos are very important for artists. Mumm helped me make a great video for Dangerous [85 million YouTube views so far] that increased my sales. At the same time, they sold more champagne, so it was a success.

That’s what I am trying to do with co-branding.”

‘Make a difference or leave a legacy’

HAVAS WORLDWIDE’S DANIEL FLOYED

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THE ADVERTISING industry is looking down the barrel of a loaded gun, according to Daniel Floyed, global brand director of Havas Worldwide London, and now Club Havas’ co-managing partner with Martin Brooks.

“According to a recent survey, people wouldn’t care if 74% of all brands disappeared tomorrow,” he said. “And the only way to reverse or counter that is to do things that make a difference or leave some sort of legacy.”

Floyed’s favourite Lionswinning campaign of 2015 is Volvo’s ‘Life paint’ by Grey London. “I love it because it’s

a product, therefore it’s tangible, and it will make a difference and save lives. All agencies should be making DANIEL FLOYED

“GET BACK TO THE IDEA OF BEING A PARTNER” things that relate to the real world and that have a place in our culture, rather than creating things and then parachuting them into culture.”

A recent campaign for client Pernod Ricard for whisky Chivas Regal demonstrates this rigorous, reality-based

approach: “We know that whisky is associated with success but, rather than focusing on that, we chose to partner with consumers by creating a platform operating across 30 countries where entrepreneurs could upload business proposals that would benefit society. To be honest, we expected around 200 but in fact we had over 1,000 — and some them are very good indeed.”

Floyed added: “I believe the industry as a whole needs to get back to the idea of being a partner to clients and helping them to solve problems.”

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IAIN TAIT (LEFT) AND ANDREW KAY (RIGHT), FROM WEIDEN + KENNEDY LONDON, ACCEPTED A CYBER GOLD LION FOR THE OTHER SIDE CAMPAIGN FOR HONDA MOTOR EUROPE FROM CYBER JURY PRESIDENT JEAN LIN

GREY GERMANY WON THE RADIO LIONS GRAND PRIX FOR THE “MACABRE AND SOMBER” THE BERLIN WALL OF SOUND – THE MOST UNBEARABLE RADIO AD CAMPAIGN FOR SOUNDCLOUD

PETER MICHAEL WILLER (LEFT) OF AIAIAI COPENHAGEN COLLECTS A PRODUCT DESIGN GOLD LION FOR TMA-2 MODULAR HEADPHONES FROM JURY PRESIDENT DAN FORMOSA

THE WUNDERMAN COLOMBIA/Y&R COLOMBIA TEAM COLLECTED A RADIO GOLD LION FOR THEIR WORK FOR FARMATODO

MEET THE WINNERS CANNES LIONS WINNERS IN THE CYBER, RADIO, PRODUCT DESIGN AND DESIGN CATEGORIES TOOK THE APPLAUSE AT THE AWARDS CEREMONY LAST NIGHT

SOUTH KOREA’S CHEIL WORLDWIDE WON A CYBER GOLD FOR THE LOOK AT ME CAMPAIGN FOR SAMSUNG ELECTRONICS

PAT QUINN (SECOND FROM RIGHT), ACKNOWLEDGED AS THE CREATOR OF THE ICE BUCKET CHALLENGE VIRAL CAMPAIGN TO RAISE AWARENESS AND MILLIONS FOR THE ALS ASSOCIATION, ACCEPTED THE CYBER GOLD LION WITH THE TEAM FROM THE ALS ASSOCIATION

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THE ERMOLAEV BUREAU TEAM FROM MOSCOW PICKED UP A DESIGN LIONS GOLD FOR ITS WORK ON IDENTITY FOR THE FAMILY FARM OF CHEBURASHKINI BROTHERS

ALI REZ (LEFT) AND ASSAM KHALID (MIDDLE) OF BBDO PAKISTAN WAVED THE FLAG AFTER ACCEPTING A DESIGN GOLD LION FROM JURY PRESIDENT ANDY PAYNE FOR THE NOT A BUG SPLAT CAMPAIGN FOR REPRIEVE/ FOUNDATION FOR FUNDAMENTAL RIGHTS

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THE TEAMS FROM LEO BURNETT IN LONDON, TORONTO AND CHICAGO CELEBRATED A CYBER GOLD LION FOR PROCTER & GAMBLE’S #LIKEAGIRL CAMPAIGN

GREY LONDON TOOK THE DESIGN GRAND PRIX FOR LIFEPAINT, THE TEAM’S WORK FOR VOLVO UK

THE LONDON OFFICE OF OGILVY & MATHER WERE AWARDED A RADIO GOLD LION FOR THE A MOTHER’S BODY CAMPAIGN FOR UNILEVER BY JURY PRESIDENT PAUL REARDON (RIGHT)

MAKOTO ISHIDA (LEFT) OF TOEI ADVERTISING ACCEPTED A DESIGN GOLD LION FROM JURY PRESIDENT ANDY PAYNE ON BEHALF OF TOKYOBASED TAKU SATOH DESIGN’S PLEATS PLEASE FLOWERS SERIES FOR ISSEY MIYAKE

DAVID DROGA (RIGHT) LEAD HIS DROGA5 NEW YORK TEAM TO ACCEPT THE CYBER LION GRAND PRIX FOR GISELE BUNDCHEN – I WILL WHAT I WANT, THE CAMPAIGN FOR SPORTS BRAND UNDER ARMOUR

OGILVY & MATHER JOHANNESBURG WON A RADIO GOLD LION FOR THE NIGHT BEFORE THE PROJECT CAMPAIGN FOR SUNTORY

MIAMI-BASED AGENCY DAVID WON A DESIGN GOLD FOR BURGER KING’S PROUD WHOPPER CAMPAIGN

THE GRAND PRIX FOR PRODUCT DESIGN WAS WON BY GEOMETRY GLOBAL DUBAI FOR THE LUCKY IRON FISH PROJECT

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Why great Film Craft is all about ‘body and soul’ for Tikhomiroff FILMMAKER Joao Daniel Tikhomiroff has won 42 Lions — 11 of them Gold — in the course of his career, making him the second most awarded director in the history of the Cannes Lions International Festival of Creativity. In his role as president of this year’s JOSE DANIEL TIKHOMIROFF

“NOW WE HAVE THE FREEDOM TO PRODUCE ANYTHING' Film Craft jury, he is looking for an entry that has an exceptional idea at its core — “a soul” — with an exceptional structure, or “body”, to support it.

“The Grand Prix is for a film that comes alive,” said Tikhomiroff, who is the founder

of the award-winning Brazilian production company Mixer. “Alone, craft is nothing — but without good craft, an idea disappears. We are looking for a splendid idea with an execution of excellence.”

In Tikhomiroff’s view, the industry is experiencing “a magic moment”. Technology and multiplatform opportunities are enabling creatives to make films of all shapes and sizes. “In hindsight, we were working with such poor technology 10 years ago,” he said. “We also had to conform to rigid format specifications.

Now we have the freedom to produce anything. Nothing is impossible.” A measure of new freedom, he added, is that his jury is judging work that ranges from 10 minutes to over five hours in running time.

FILM CRAFT PRESIDENT JOAO DANIEL TIKHOMIROFF

As to the quality of this year’s Film Craft entries, he said: “When I was on this jury three years ago, we had a very, very short list of amazing films.

This year, the general level is

better, but I think we have seen less outstanding work.”

He added: “I have purposefully not entered any of my own work into this year’s Festival, so I can concentrate on

mentoring the Film Craft jury without prejudice. But I’ll be back next year to bring home more Lions. This Festival always inspires me to do better.”

Even the best data needs humans

CREATIVE DATA PRESIDENT DAVID SABLE

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IN RECENT years, the use of data has enabled the creative industry to shape complex new ideas, drive mass engagement and tell a more powerful story than ever before. In response to this trend, the Cannes Lions International Festival Of Creativity has launched The Creative Data Lions, a new awards category to celebrate gamechanging creative campaigns that can clearly demonstrate that an execution has been enhanced by the use, interpretation, analysis or application of data.

The jury president for the first ever Creative Data Lions is David Sable, global CEO of Y&R, widely acknowledged as one of the pioneers of the current era of data based marketing. On Thursday, he took time out from judging to talk to the Lions Daily News about

how the category is shaping up: “We’re seeing some great work, but because it’s the first year we’re being really careful about what we select for the shortlists. We’re going over everything again and again to make sure we are happy to put our names to work. We’ve set the creative benchmark very high.”

DAVID SABLE

“THE IDEA THAT WE DIDN’T USE DATA IN THE OLD DAYS OR THAT IT HAS JUST BEEN INVENTED IS NONSENSE While data sits at the heart of the category, Sable is keen to avoid “the hyperbole and digibabble around data. You can’t have a discussion these days without talking about data,

but the idea that we didn’t use data in the old days or that it has just been invented is nonsense. Y&R led the way by hiring George Gallup to run a research department back in 1932. It was also a big feature of my time at Wunderman.”

He also resists the idea that data can somehow achieve results in isolation: “The seduction of data is a problem.

Even the best data needs some kind of human interaction, people who can assess data and glean insights.”

Sable said he has found the judging process very rewarding: “We have a great jury, a great mix of talents from every discipline you can imagine. I’m really learning a lot from them.” Winners of the category will be revealed during the evening Awards ceremony on Friday, June 26.

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LIONS DAILY NEWS

FRIDAY / JUNE 26 / 2015

NEWS

Fenez describes future in three words: ‘mobile, mobile, mobile’ AVOID mobile advertising in your marketing strategies at your creative peril, warned Marcel Fenez, global leader of entertainment and media at international accountancy conglomerate PwC. At Cannes Lions to highlight the salient points in PwC’s most recent report, Global Entertainment And Media Outlook 2015-2019, Fenez advised that future marketing campaigns should be linked to increasingly ubiquitous internet-connected mobile devices. The report forecasts that expenditure on mobile advertising will soar at a compound average growth rate of 23.1% between 2015 and 2019. It will overtake display internet ads as the leading digital-ad category globally.

It will also oust paid-for search as the top category in the US. Fenez said mobile should increasingly be positioned at the centre of advertising

PWC’S MARCEL FENEZ: “CONSUMERS LEAPFROGGING STRAIGHT TO MOBILE”

creativity. “Mobile, mobile, mobile,” he said. “It is going to achieve great growth rates because there are large parts of the world where fixed internet access has slowed and consumers are leapfrogging straight to mobile. That’s why it is critical.”

In addition, he said, skills in content distribution will no longer be enough — the industry needs to understand the psychology behind con-

sumers’ use of mobile.

“It’s the most personal media device ever,” Fenez added.

“Your mobile number is as important as your ID-card number, yet your mobile number tracks your activities more than your ID card will ever do. It’s a powerful tool that gathers the data the industry uses to deliver personalised and contextual messages to you.”

But it could also go wrong if

consumers decide mobile is too intrusive: “Mobile is a great story but there are some hurdles that need to be overcome to gain the potential full benefit.”

Other observations in the report include the need for creatives and media companies to start developing innovative ways to deliver content to consumers, because “the consumer is device agnostic”, Fenez said.

Design can change the way we think

STEPHEN BAYLEY

A LEO Burnett-hosted session in the Debussy auditorium on Wednesday afternoon explored the fundamental importance of design in defining cultures and brands. Featuring thought leader Stephen Bayley and the joint CEOs of design consultancy Turner Duckworth, Bruce Duckworth and David Turner, the session explored how brands need “unmistakable”

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TURNER DUCKWORTH’S DAVID TURNER

design to foster creativity and stand out from the clutter of competition.

In an introductory talk, Bayley said design is “intelligence made visible”. He added: “In the case of commerce, it’s the part of a product that can’t be explained by the physicality of the product itself. There were plenty of MP3 players before the iPod can along. In that case,

TURNER DUCKWORTH’S BRUCE DUCKWORTH

the genius of design changed the way we think.”

Picking up the story, Duckworth and Turner used examples of work they had done for Amazon, Levi’s and Coca-Cola to show how seriously design is taken by large corporations.

Taking the stage first, Duckworth said: “Today’s successful brands are cultures, and design is important in any culture.” He

explained how design can solve a business conundrum, which is that “brands want to be recognisable, but they also want to be new and exciting. Design can address this contradiction.”

Picking up the story, Turner said brands must focus on those elements of their DNA that are unmistakable, rather than getting buried in visual clutter.

Working with Coca-Cola, he said the brand had ended up with a wide array of conflicting imagery over the years. Turner Duckworth’s response was to ruthlessly reduce the number of visual assets that had come to be associated with the brand.

Rather than suppress innovation, however, Turner said “this simplicity unleashed great creativity, and Coca-Cola consumers have responded in a positive fashion”.

15

TIME TO START SHOWING LOVE TO OVER 50S DVERTISERS must untether themselves from traditional advertising models and market segmentation practices to touch both boomers and millennials, concluded two sessions on Wednesday afternoon.

In Flamingo’s Whatever You Do, Don’t Call Them Grey (Or Silver), Stephen Reily, chairman and managing director of IMC/ VibrantNation, said the latest research showed that wealthy boomer women, now the affluent segment wielding more spending clout than any other, felt invisible. “However it’s not all bad news,” Reily added. “While they distrust your messages, they trust each other.” Reily urged the industry to harness peer-topeer influence to enter the conversations between older women as they continue to connect with each other.

Kirsty Fuller, co-founder and co-CEO of Flamingo Group, said the industry was blocked by fear, afraid to market to women of 50-plus in case they damage their brand’s equity.

“Change your thinking from targeting to engaging,” Fuller said. “Older women don’t want to feel like a conspicuous minority. It’s important to highlight the commonality and shared values across generations.” IAB’s forum session Liquid Creativity: Superstar Secrets & Video Voodoo, examined how brands are integrating into the new mass-media model.

Athan Stephanopoulos, senior vice-president of strategy and partnerships at NowThis, said the key in reaching millennials is to create platform-appropriate content and distribute it to where they live — in other words, directly on to social and mobile.

A

NOWTHIS’ ATHAN STEPHANOPOULOS

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NEWS

FRIDAY / JUNE 26 / 2015

LIONS DAILY NEWS

TONY GRANGER IS GLOBAL CHIEF CREATIVE OFFICER, Y&R

‘Facebook has a bigger population than China’ I AM SURPRISED at how many people still toss around the word “digital” as if it is imbued with mystical, magical qualities that are imagined, produced and practiced by a rarified few.

Maybe not. Facebook has a bigger population than China and inspires 4.5 billion likes every day. The 284 million users of Twitter tweet 500 million times a day. Seventy million photos are Instagrammed every day. And YouTube’s 1 billion users upload 300 hours of videos every hour.

So, now that we’re 15 years into the 21st century, I think we can safely say that digital’s nascent minority population has gone full-blown mainstream. We need to shift our thinking and language to the implications for people who are either connected or asleep.

The truth is that consumers are way ahead of our industry.

They don’t think of things as “digital”. Their connected world is refreshingly unselfconscious. They think of things they want to research, discover, shop and share. And whether they dig into their pockets and come up with XXXXXXXXXXXXXXX

“THE BRAND STORY HAS GOT TO BE SO COMPELLING THAT IT CHANGES HEARTS AND MINDS” coins or cards, they are thinking less about coding and more about content.

In our social economy — where we are connected 24/7, people to people, devices to devices, brands to brands — it is still ideas that hold the leveragable power. If consumers don’t like a brand, they will be watchdogs, critics, product

and even brand killers. If they do like them, they will be ambassadors, evangelists and collaborators. So the brand story has got to be so compelling that it changes hearts and minds and so connected that it is worthy of sharing.

Consumers have more information, more say, more choices. And it is our charge to help them choose. But the proliferation of brands — and technology — has come at a price.

Consumers have a harder time differentiating between them.

Our own research at Y&R has shown that brands are 200% more like other brands in their own category than 20 years ago. We also know that people trust brands less and less. And, as we know well, they aren’t huge fans of old school advertising, either. They don’t want to be sold. They want to be enlightened, enchanted, persuaded.

TONY GRANGER

So, let’s put the emphasis where it’s needed. On finding the simple truths that resonate with consumers, creating content that will engage and motivate them and then executing

no less than brilliantly. Isn’t that why we all come to Cannes — to be inspired by what is still very human : insights, passion and ideas.

LAURA MUNGEAM IS HEAD OF DESIGN, QUANTCAST

‘Tech isn’t killing creativity’

LAURA MUNGEAM

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THE PHRASE “tech is killing creativity” is ludicrous. We are living in a different world to the creative shops of the 60s, but I argue the opposite. Tech isn’t killing creativity, it’s driving it.

For too long the ad industry has been focused on using tech for the plumbing, not the ad itself. Tech is helping to drive the right creative, in the right place and at the right time.

Data is now an integral part of digital advertising, with creative minds using it to better understand consumers and reach them in even more creative ways.

Digital-era consumers have the power to penalise advertisers delivering one-size-fits-all messages. Innovative advertisers are those who are respon-

sive to their audiences and are delivering data-driven campaigns and messages in realtime. So no, the humble banner ad is not just a throw away tactic. Billions of ads are served every day to billions of consumers — we feed the XXXXXXXXXXXXXXX

“CONSUMERS HAVE THE POWER TO PENALISE ADVERTISERS DELIVERING ONESIZE-FITS-ALL MESSAGES” creative process with data from a focus group the size of the entire internet population.

It is this that cuts down the barriers to entry for smaller

companies because it allows for calculated risks — creative freedom flourishes when we remove the unknown.

This year’s Cannes Lions, in particular the advent of Lions Innovation, marks a turning point. Four years ago ad tech would have been unheard of on the Cannes agenda. This year the time is right to celebrate the technical innovations that have bought ad tech forward into the creative arena.

Things have changed. The time is ripe for the creative and tech industries to work together — to drive each other. This is a chance to not just present creative ideas but also test them, an opportunity to drive creativity with data and insight, not be a slave to it. Just imagine if creative agencies understood the tools at our disposal right now.

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LIONS DAILY NEWS

FRIDAY / JUNE 26 / 2015

NEWS

17

Smaller is best for Chuck Porter in the new world of advertising CHUCK Porter, Crispin Porter + Bogusky’s (CP+B) partner/ chairman — and a 2015 inductee into The Advertising Hall of Fame — took to the Lions Innovation stage on CHUCK PORTER

“TRANSPARENCY IS THE NEW BLACK” Thursday to talk about the agency’s most visible success story, Domino’s. The pizza chain has metamorphosed its business, becoming a true technology powerhouse with over $2bn in online sales. The company has also seen its stock price go from $3 to $112.

“Transparency is the new black,” Porter said. “If you are not going to do it, you’re going to be ‘transparented’ by someone else. This wonderful story is about how an old line

company took extraordinary steps to apologise for past mistakes, embrace technology and transform user experience.”

Porter said it wasn’t difficult to convince Domino’s to adopt the self-deprecating marketing strategy after the president’s public apology for all the poor pizzas the company had served. “There was an overwhelming response to his apology — it resonated with consumers; Domino’s realised that telling the truth and following through with proactive changes was going to work.

“Conversely, sticking a ‘new and improved’ stamp on their pizza box would not have worked — nobody would have believed it,” Porter said.

Porter lauded the break-out Innovation festival that “tied advertisers and clients even

CP+B’S CHUCK PORTER

closer”.

Meanwhile the shifting sands of the ad-tech world are making Porter reconsider CP+B’s model: “The individual is more

powerful — we are seeing a rise of talented independent thinkers inside and outside the agency,” he said. “I have come to believe that we do operate

better in smaller, focused groups without politics and hierarchical processes. I want to diffuse our large-scale operations in the future.”

‘Hi, it’s the plants on the phone.

They say they need watering...’

MICROSOFT’S KATI LONDON ADDRESSES THE INNOVATION FESTIVAL AUDIENCE

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IN A thought-provoking session on the Lions Innovation Discovery Stage, Kati London, senior researcher at Microsoft Research’s FUSE Labs, showed how boring or complex real world data can be made entertaining and engaging for endusers.

Using a series of case studies involving data gathered from sensors attached to diverse objects such as street signs, rooms, sharks and plants, she proved that “dense, incomprehensible and uninterpretable data can be made meaningful at a human scale by injecting it with character, personality and humour.”

The best example of this was plants that can phone, tweet or email their owners to tell them if they need watering (in a

funny, friendly message). This is achieved by placing sensors on plants that monitor their health. Other examples of data being given a human interface were rooms that can tell people to be quiet and government data that can be converted into community insights and fed into a person’s social stream.

London also showed how gamification techniques can be used to enliven data.

The opportunities for better data usage will increase massively as connected devices move mainstream, London said.

But there are challenges: “This kind of data usage will require a new social etiquette, and it raises questions about privacy, consent and who gets to control all of this information.”

26/06/2015 00:00

The coming Ai revoluTion And The implicATions for mArkeTing Many scientists and visionaries are predicting that the AI revolution will be the most transformative event humanity has ever lived through.

That the internet is set to wake up.

If only half of what these engineers are saying comes to fruition, then the way that we navigate our waking world is about to undergo the biggest transformation that any single generation has ever experienced.

Sentience explores the incredible potential of the far reach of AI, the road leading up to it, the tantalizing possibilities for marketers and what they can do now to start to prepare.

Download an exclusive excerpt of PHD’s latest book via the Cannes Lions app. Sentience: The Coming AI Revolution and the Implications for Marketing will be available to purchase via Amazon, Google Play and iBookstore on 13th July 2015.

@phdworldwide #sentience www.phdmedia.com

Thursday & Friday Lions Daily Ad_Book.indd 2

15/06/2015 10:57

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LIONS DAILY NEWS

FRIDAY / JUNE 26 / 2015

NEWS

19

‘REDEFINED FOR THE CONNECTED AGE’ OB GREENBERG, founder, chairman and CEO of R/GA, is this year’s recipient of The Lion of St. Mark, a special award for individuals who have made an outstanding contribution to creativity in advertising and communications over their lifetime.

Announcing the award, Terry Savage, chairman, Lions Festivals, said The Lion of St. Mark recognises “a person whose devotion and vision has helped shape the way forward for the industry. Under Bob’s leadership, R/GA has taken home close to 60 Lions and become one of the most successful integrated marketing services companies. This is a man that reinvents his business model every nine years to ensure it is in line with technology shifts. He’s created ground-breaking visual effects and is behind the Titanium Grand Prix winning Nike+ Fuelband campaigns.

It’s an honour to celebrate Bob’s talent and unstoppable drive.”

A regular attendee at Cannes Lions, Greenberg has been a pioneer in the industry for nearly four decades. As the head of IPG-owned R/GA, he oversees a company whose client list includes Nike, Unilever, L’Oréal, MasterCard, Samsung, Coca-Cola, Ameriprise and Johnson & Johnson.

B

“START-UPS ALL WANT TO BE THE INDUSTRY LEADERS OF TOMORROW” Greenberg founded R/Greenberg Associates (R/GA) in 1977 alongside his brother Richard. Their idea was to create a company that values design, while focusing on developing leading-edge motion graphics and live-action film and video production. As part of a total body of work

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that includes 4,000 television commercials and 400 feature films, the company created groundbreaking visual effects for movies including Alien, Predator, Seven and Woody Allen’s masterpiece Zelig.

In the mid-1990s, Greenberg successfully transitioned the company into an interactive agency focused on the intersection of design and technology.

Serving as the lead digital partner for the world’s most recognised brands, R/GA went on to create an entirely new agency model of integrated digital services. Today, it has become one of the most successful integrated marketing services companies in the world, creating everything from new products to digital services to social and mobile campaigns.

Part of Greenberg’s success has been his willingness to keep adapting R/ GA’s business model. In a session at this year’s Cannes Lions, for example, Greenberg and his team explained how the company has becoming increasingly active in the start-up sector through a series of accelerator programmes. Setting up the session, Greenberg said that the current wave of disruption in both ad agency and brand business models had required a response. “We’ve redefined R/GA for the connected age,” he said, “Today we are a hybrid company that combines agency, business consulting and innovation capabilites.”

R/GA’s decision to go after start-ups made sense, said Greenberg, because the company has the skillsets to help them survive the difficult launch phase: “Start-ups all want to be the industry leaders of tomorrow, but they set out with big challenges and small budgets – which is why so many fail.”

In return for a small equity stake, R/ GA uses its experience to helps start-ups on its accelerator programmes turn ideas into reality:

“Ideas aren’t enough, you also need a vision to ensure that you don’t become commoditised. The thing that has kept R/GA competitive is that we have always had a strong vision.”

Greenberg, who has chaired numerous Cannes Lions juries, is the fifth recipient of the Lion of St. Mark, following Joe Pytka, Lee Clow, Dan Wieden and John Hegarty.

“Throughout my career, and every incarnation of R/GA, I have always strived to ensure that creativity remained at the heart of everything we did. I am honoured Cannes Lions feels that my efforts are worthy of this prestigious award and that they have included me among such distinguished company,” Greenberg said.

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FOCUS ON VIRTUAL REALITY

FRIDAY / JUNE 26 / 2015

LIONS DAILY NEWS

CANNES LIONS AND THE ADVERTISING INDUSTRY IS RENOWNED FOR EMBRACING AND CELEBRATING NEW TECHNOLOGIES. SOME OF THIS YEAR’S BUZZ WILL ALMOST DEFINITELY BE AROUND VIRTUAL REALITY AND THE POTENTIAL THAT THE IMMERSIVE TECHNOLOGY CAN HAVE TO TELL STORIES AND ENGAGE PARTICIPANTS. SHOULD MARKETERS TREAD CAUTIOUSLY OR GET THEIR HEADSETS ON? CONTAGIOUS’ EMILY HARE EXPLORES THE POSSIBILITIES

IT’S REAL, VIRTUALLY T

HIS year has witnessed a

perfect storm in terms of virtual reality for marketers: investment, competition among key players and early examples of impressive work mean that many are starting to now pay attention. Virtual reality has increasingly become a credible conduit for brand experiences, offering something that people would not normally be able to experience in daily life and encouraging emotional attachments to brands.

The technology has been developed by the likes of Sony, Microsoft and Valve for its potential in the gaming and entertainment market, however, as Facebook’s March 2014 purchase of Oculus Rift suggests, the technology has the potential to have a far wider impact. The social network splashed out $400m in cash, $1.6bn in Facebook stock, and an additional $300m subject to Oculus meeting financial targets. The competition between the various players and billions invested is likely to spur on fast-paced development and lower costs.

Currently, the majority of the headsets are available as developer pre-release versions, but Oculus will become available to pre-order at the end of 2015.

By February 2015 100,000 versions of Oculus’ DK2, the second iteration of its developer kits, had been bought. This means that by the time consumer versions are available the content, experiences and ideas should abound.

Samsung’s Gear VR has been available for developers since last December. The headset doesn’t have an inbuilt screen, but instead houses a Samsung Galaxy Note 4 and has headtracking included.

Sony’s hardware, going under the name of Project Morpheus, will run in conjunction with a PS4 and should be available in the first half of 2016.

At the bargain end of the scale, Google

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Cardboard has provided an accessible access point for many to get their first experience of the technology. Costing around $10, the cardboard viewer has a slot for a phone, and when the Cardboard app is downloaded users can ride a rollercoaster, obliterate aliens or try out a variety of brand experiences.

As the headsets become widely available, adoption should quickly follow. Upload-

VR expects the vitual reality hardware market to grow by 13,000% over the next three years.

Standout pieces of work are contenders at the Cannes LIons awards this year: ‘Clouds over Sidra’ demonstrates the potential that VR can have to take an audience out of their day-to-day environment and engage them emotionally. The project, shot for the United

25/06/2015 19:58

LIONS DAILY NEWS

Heineken-owned beer, Dos Equis, launched a VR activation as part of a Halloweenthemed campaign.

Installed in bars, participants were escorted through a wild party by the brand’s ‘Most interesting man in the world’.

VIRTUAL REALITY+D.indd 21

FRIDAY / JUNE 26 / 2015

Nations by director Chris Milk with production company VRSE, took viewers the Za’atari camp in Jordan, home to 84,000 refugees from the Syrian civil war. Viewers were introduced to 12-year-old Syrian refugee Sidra, who escorted them through the camp and invited participants into her makeshift classroom.

Attendees at the World Economic Forum in Davos were provided with Samsung Gear VR headsets to explore Sidra’s world, gaining an insight into a totally different world through a moving, immersive experience thanks to the 360-degree platform.

As well as prompting emotional engagement, VR can create an interactive environment for people to explore.

Heineken-owned beer, Dos Equis, launched a virtual reality activation as part of a Halloween-themed masquerade campaign. Installed in bars, participants were taken through an experience involving a wild party, hosted by the brand’s ‘Most interesting man in the world’. Via Havas Worldwide, production company mssng peces and experiential shop Mirrorball, the campaign helped sales of

FOCUS ON VIRTUAL REALITY

Dos Equis shoot up by 18% year on year.

Another application of VR for marketers is to provide a product demo — something that was particularly useful for Volvo, allowing people to get behind the wheel of the new XC90 before the car was released and without having to visit a dealership. ‘Volvo reality’ was a VR test drive created for Google Cardboard. The experience showcased the Volvo XC90 by helping potential customers picture themselves in the driving seat. Developed

by R/GA New York, with footage and VR created by Framestore, the content comprised multiple episodes with different locations and weather conditions.

For Cannes jurors, one of the key questions is how to rate this work against other pieces in a category — can you expect a TV ad to engage on the same kind of level? How can you compare that against the reach that the work will have?

How do you judge effectiveness as ROI? Currently, the novelty of the technology and the early iterations of the work are helping the early-adopting brands gain PR coverage.

Of course, VR isn’t without its challenges.

21

Driving people to the experience and gaining reach and exposure for something that is, by necessity, created solely for one viewer needs to be figured out.

Dos Equis dealt with this by extending its ‘Most interesting man’ experience through a website.

Madelaine Guppy of VR production company VRSE highlights the potential but also the magnitude of the challenge that VR presents: “The new platform has a wide scope for anything creative… documentary, storytelling, comedy.

You’re directing a whole world rather than any one thing.”

Marketers have to think about a wide range of costs and quality that different approaches can take, and the number of people they can reach by developing for one headset rather than another. On top of this, briefing for any new platform or technology will require a new set of skills.

Cannes winners often set the standard for the work that will be produced in the coming months. After that, the gauntlet is thrown down to the rest of the industry to think about how they can engage and innovate with this platform to make the most of its potential.

25/06/2015 19:59

meet

connecting & producing

lisa ray

oliver lรถssl www.bam.uk.net

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LIONS DAILY NEWS

SHORTLIST 23

FRIDAY / JUNE 26 / 2015

FILM SAVOURY FOODS A01/035 FREESTYLE • LURPAK • SPREADABLE • ENT./AG. WIEDEN+KENNEDY LONDON • MED. AG. CARAT LONDON • PROD. CO. MJZ LONDON / MPC LONDON A01/041 FIRST DRAFT EVER • AVOCADOS FROM MEXICO • FOOD • ENT./AG. GSD&M AUSTIN • MED. AG. HAVAS MEDIA BOSTON • PROD. CO. BISCUIT FILMWORKS LOS ANGELES A01/046 MINERS • PREMIER FOODS • BISTO SIMPLY CASSEROLE RANGE • ENT./AG. MCCANN LONDON • PROD. CO. FISH FILM MADRID A01/056 GRANDMA • JOHNSONVILLE SAUSAGE • BREAKFAST - FRESH BREAKFAST SAUSAGE • ENT./AG. DROGA5 NEW YORK • MED. AG. COMPASS POINT MINNEAPOLIS • PROD. CO. ARTS & SCIENCES LOS ANGELES

UNITED KINGDOM USA UNITED KINGDOM USA

SWEET FOODS & SNACKS A02/002 SETTLE IT 30’ • MARS • SKITTLES • ENT./AG. DDB CHICAGO • MED. AG. STARCOM MEDIAVEST GROUP CHICAGO • PROD. CO. MJZ LOS ANGELES / CUT + RUN SANTA MONICA

USA

A02/012 DIAL-UP • MARS CHOCOLATE NORTH AMERICA • TWIX BITES • ENT./AG. BBDO NEW YORK • PROD. CO. SMUGGLER NEW YORK

USA

A02/013 FLAT TOP • MARS CHOCOLATE NORTH AMERICA • TWIX BITES • ENT./AG. BBDO NEW YORK • PROD. CO. SMUGGLER NEW YORK

USA

A02/014 Y2K • MARS CHOCOLATE NORTH AMERICA • TWIX BITES • ENT./AG. BBDO NEW YORK • PROD. CO. SMUGGLER NEW YORK

USA

A02/015 BRADY BUNCH • MARS CHOCOLATE NORTH AMERICA • SNICKERS • ENT./AG. BBDO NEW YORK • PROD. CO. O POSITIVE NEW YORK

USA

A02/016 JOHNNY JAMBOOGIE • MARS CHOCOLATE NORTH AMERICA • SNICKERS • ENT./AG. BBDO NEW YORK • PROD. CO. RADICAL MEDIA NEW YORK

USA

A02/034 PROUDLY SEEKING PLEASURE • UNILEVER • MAGNUM • ENT./AG. LOLA LOWE & PARTNERS MADRID • PROD. CO. PROPAGANDA PRODUCCIONES MADRID A02/042 PRINTER • TIC TAC • INSTITUTIONAL • ENT./AG. GREY MÉXICO MEXICO CITY • MED. AG. MEDIACOM MEXICO • PROD. CO. THE MAESTROS MEXICO CITY A02/044 WEB 45’ • MARS • SKITTLES • ENT./AG. DDB CHICAGO • MED. AG. STARCOM MEDIAVEST GROUP CHICAGO • PROD. CO. HUNGRY MAN LOS ANGELES / BEAST CHICAGO CHICAGO / THE MILL LOS ANGELES

SPAIN MEXICO USA

ALCOHOLIC DRINKS A03/006 MADE OF BLACK • DIAGEO • GUINNESS • ENT./AG. AMV BBDO LONDON / BBDO SOUTH AFRICA JOHANNESBURG • MED. AG. CARAT SOUTH AFRICA CAPE TOWN • PROD. CO. ROGUE LONDON

UNITED KINGDOM

A03/010 THE CITY • HEINEKEN • HEINEKEN • ENT./AG. WIEDEN+KENNEDY AMSTERDAM • MED. AG. STARCOM MEDIAVEST GROUP AMSTERDAM • PROD. CO. TRAKTOR LOS ANGELES

THE NETHERLANDS

A03/011 THE MATCH • HEINEKEN • HEINEKEN • ENT./AG. WIEDEN+KENNEDY AMSTERDAM • PROD. CO. SONNY LONDON

THE NETHERLANDS

A03/013 EMPTY CHAIR • DIAGEO • GUINNESS • ENT./AG. BBDO NEW YORK • PROD. CO. BISCUIT FILMWORKS LOS ANGELES

USA

A03/041 BAND OF BRANDS MEGA AD • HEINKEN USA • NEWCASTLE BROWN ALE • ENT./AG. DROGA5 NEW YORK • MED. AG. MEDIAVEST NEW YORK • PROD. CO. CAVIAR LOS ANGELES

USA

A03/055 SHARK 60’ • SOUTHERN COMFORT • SOUTHERN COMFORT • ENT./AG. WIEDEN+KENNEDY NEW YORK • MED. AG. UNIVERSAL MCCANN NEW YORK • PROD. CO. BISCUIT FILMWORKS LOS ANGELES

USA

A03/056 YOUNG GUN 60’ • SOUTHERN COMFORT • SOUTHERN COMFORT • ENT./AG. WIEDEN+KENNEDY NEW YORK • MED. AG. UNIVERSAL MCCANN NEW YORK • PROD. CO. BISCUIT FILMWORKS LOS ANGELES

USA

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

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24 FILM SHORTLIST

FRIDAY / JUNE 26 / 2015

LIONS DAILY NEWS

NON-ALCOHOLIC DRINKS A04/023 CHAMPION • CALIFORNIA MILK PROCESSORS BOARD • CALIFORNIA MILK PROCESSORS BOARD • ENT./AG. GOODBY SILVERSTEIN & PARTNERS SAN FRANCISCO • PROD. CO. DUMMY. LOS ANGELES / ARCADE EDIT SANTA MONICA / THE MILL LOS ANGELES USA A04/026 GENEROUS WORLD • COCA-COLA • NON-ALCOHOLIC SPARKLING BEVERAGE • ENT./AG. WIEDEN+KENNEDY PORTLAND • PROD. CO. MJZ LOS ANGELES / THE MILL LOS ANGELES / ELEVEN SOUND SANTA MONICA A04/030 TAKE OVER • MURRAY GOULBURN COOPERATIVE • DEVONDALE • ENT./AG. DDB GROUP MELBOURNE • PROD. CO. REVOLVER/WILL O’ROURKE SYDNEY

USA AUSTRALIA

A04/040 GYMNASTICS • DUCOCO • DUCOCO SPORT • ENT./AG. MULLEN LOWE BRASIL SÃO PAULO • PROD. CO. PARANOID BR SÃO PAULO

BRAZIL

A04/050 FAMILIES • COCA-COLA • COCA-COLA • ENT./AG. MCCANN MADRID • MED. AG. CARAT BARCELONA • PROD. CO. LANDIA MADRID

SPAIN

A04/052 LIL SWEET - BIRTHDAY PARTY • DR PEPPER • DIET DR PEPPER • ENT./AG. DEUTSCH LA • MED. AG. INITIATIVE+ LOS ANGELES • PROD. CO. TOOL SANTA MONICA

USA

A04/053 LIL SWEET - SELF-EMPLOYED • DR PEPPER • DIET DR PEPPER • ENT./AG. DEUTSCH LA • MED. AG. INITIATIVE+ LOS ANGELES • PROD. CO. TOOL SANTA MONICA

USA

A04/090 MADE IN NY • GATORADE • GATORADE • ENT./AG. TBWA\CHIAT\DAY LOS ANGELES • MED. AG. OMD CHICAGO • PROD. CO. SMUGGLER LOS ANGELES, CA

USA

HOUSEHOLD GOODS, HOME APPLIANCES & FURNISHINGS A05/014 DISHES • FINISH • BRAND • ENT./AG. WIEDEN+KENNEDY LONDON • MED. AG. ZENITHOPTIMEDIA LONDON • PROD. CO. RIFF RAFF LONDON A05/017 BUNK BED • BEIJER BYGGMATERIAL • BUILDING SUPPLIES • ENT./AG. HONESTY STOCKHOLM • MED. AG. BIZKIT STOCKHOLM • PROD. CO. HONESTY PRODUCTION STOCKHOLM A05/023 OLD TABLE • VALUE CITY FURNITURE • FURNITURE • ENT./AG. DUMMY. LOS ANGELES / TRANSLATION NEW YORK • PROD. CO. DUMMY. LOS ANGELES A05/044 VACUUM LOVE • VORWERK INTERNATIONAL STRECKER & CO. • VORWERK KOBOLD VR200 • ENT./AG. SAATCHI & SAATCHI DÜSSELDORF • PROD. CO. SMUGGLER LONDON / ELECTRIC THEATRE COLLECTIVE LONDON A05/060 I’M WEEDING RIGHT NOW • THE SCOTTS MIRACLE-GRO COMPANY • WEEDOL PATHCLEAR • ENT./AG. MCGARRYBOWEN LONDON • MED. AG. MEC UK LONDON • PROD. CO. DUMMY. LOS ANGELES / OUTSIDER LONDON / MILL+ LONDON A05/065 BLEACHABLE MOMENTS DISTANCE • THE CLOROX COMPANY • BLEACH • ENT./AG. DDB SAN FRANCISCO • PROD. CO. O POSITIVE FILMS SANTA MONICA

UNITED KINGDOM SWEDEN USA GERMANY UNITED KINGDOM USA

A05/074 TATTOO • PROCTER & GAMBLE • MAGISTRAL • ENT./AG. GREY ARGENTINA BUENOS AIRES • PROD. CO. REBOLUCION BUENOS AIRES

ARGENTINA

A05/075 BOSS • PROCTER & GAMBLE • MAGISTRAL • ENT./AG. GREY ARGENTINA BUENOS AIRES • PROD. CO. REBOLUCION BUENOS AIRES

ARGENTINA

TOILETRIES, COSMETICS & BEAUTY A06/008 DADSONG • OLD SPICE • PERSONAL CARE • ENT./AG. WIEDEN+KENNEDY PORTLAND • PROD. CO. BISCUIT FILMWORKS LOS ANGELES

USA

A06/009 HOT TUB • OLD SPICE • PERSONAL CARE • ENT./AG. WIEDEN+KENNEDY PORTLAND • PROD. CO. MJZ LOS ANGELES

USA

A06/010 SOCCER • OLD SPICE • PERSONAL CARE • ENT./AG. WIEDEN+KENNEDY PORTLAND • PROD. CO. MJZ LOS ANGELES

USA

A06/011 NIGHT CLUB • OLD SPICE • PERSONAL CARE • ENT./AG. WIEDEN+KENNEDY PORTLAND • PROD. CO. MJZ LOS ANGELES

USA

A06/021 THE WORLD’S MOST KISSING NATION • MISR PYRAMIDS • SHAVECODE • ENT./AG. KAIRO CAIRO • PROD. CO. HAMA FILM PRODUCTIONS GIZA

EGYPT

A06/024 NEST • OLD SPICE • PERSONAL CARE • ENT./AG. WIEDEN+KENNEDY PORTLAND • PROD. CO. SMITH AND JONES FILMS LOS ANGELES

USA

A06/025 ROAR • OLD SPICE • PERSONAL CARE • ENT./AG. WIEDEN+KENNEDY PORTLAND • PROD. CO. SMITH AND JONES FILMS LOS ANGELES

USA

A06/026 COCONUT • OLD SPICE • PERSONAL CARE • ENT./AG. WIEDEN+KENNEDY PORTLAND • PROD. CO. SMITH AND JONES FILMS LOS ANGELES

USA

A06/031 INNER THOUGHTS • DOVE MASTERBRAND • PERSONAL CARE • ENT./AG. OGILVY PARIS • PROD. CO. HENRY PARIS A06/055 POO FACE • PROCTER & GAMBLE • WIPES • ENT./AG. SAATCHI & SAATCHI LONDON • PROD. CO. GREAT GUNS LONDON

FRANCE UNITED KINGDOM

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

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FILM SHORTLIST 25

FRIDAY / JUNE 26 / 2015

PHARMACY A07/017 MAKE THE WORLD A PEACEFUL PLACE. • DR GIORGINI • INFUSION • ENT./AG. DLV BBDO MILAN • PROD. CO. FILMGOOD SERRAVALLE

ITALY

CLOTHING, FOOTWEAR & ACCESSORIES A08/014 PLAY PINOY • NIKE • NIKE BASKETBALL • ENT./AG. BBH ASIA PACIFIC SINGAPORE • MED. AG. MINDSHARE ASIA PACIFIC SINGAPORE • PROD. CO. STINK SHANGHAI

SINGAPORE

A08/017 MISTY COPELAND - I WILL WHAT I WANT • UNDER ARMOUR • WOMEN’S APPAREL • ENT./AG. DROGA5 NEW YORK • MED. AG. OPTIMUM SPORTS NEW YORK • PROD. CO. RESET SANTA MONICA

USA

A08/018 GISELE BÜNDCHEN - I WILL WHAT I WANT • UNDER ARMOUR • WOMEN’S APPAREL • ENT./AG. DROGA5 NEW YORK • MED. AG. OPTIMUM SPORTS NEW YORK • PROD. CO. SMUGGLER NEW YORK

USA

A08/024 RIPPLE • NIKE GOLF • APPAREL AND FOOTWEAR • ENT./AG. WIEDEN+KENNEDY PORTLAND • PROD. CO. BISCUIT FILMWORKS LOS ANGELES / JOINT EDITORIAL PORTLAND / THE MILL LOS ANGELES

USA

A08/025 PIERRE • SAMDEX • THE NEW SAMSONITE COLLECTION • ENT./AG. JANDL BRATISLAVA • PROD. CO. EALLIN BRATISLAVA / EALLIN PRAGUE

SLOVAK REPUBLIC

A08/026 STEVE • SAMDEX • THE NEW SAMSONITE COLLECTION • ENT./AG. JANDL BRATISLAVA • PROD. CO. EALLIN BRATISLAVA / EALLIN PRAGUE

SLOVAK REPUBLIC

A08/027 MELVIN • SAMDEX • THE NEW SAMSONITE COLLECTION • ENT./AG. JANDL BRATISLAVA • PROD. CO. EALLIN BRATISLAVA / EALLIN PRAGUE

SLOVAK REPUBLIC

MISCELLANEOUS A09/012 ABEL • PURINA • CAT CHOW • ENT./AG. PUBLICIS ARGENTINA BUENOS AIRES • MED. AG. MINDSHARE BUENOS AIRES • PROD. CO. MU FILMS BUENOS AIRES

ARGENTINA

CARS, OTHER VEHICLES, AUTO PRODUCTS & SERVICES A10/024 NEWFANGLED • BMW NORTH AMERICA • BMW I3 • ENT./AG. KBS+ NEW YORK • MED. AG. UNIVERSAL MCCANN NEW YORK • PROD. CO. BOB INDUSTRIES SANTA MONICA / MACKENZIE CUTLER NEW YORK / THE MILL NEW YORK

USA

A10/060 JOHN VS. HORACE • DODGE • AUTOMOBILES • ENT./AG. WIEDEN+KENNEDY PORTLAND • MED. AG. UM BIRMINGHAM • PROD. CO. BISCUIT FILMWORKS LOS ANGELES / ROCK PAPER SCISSORS SANTA MONICA / THE MILL LOS ANGELES

USA

A10/069 DREAM RUN • HONDA AUSTRALIA • HONDA HR-V • ENT./AG. LEO BURNETT MELBOURNE • PROD. CO. GOODOIL FILMS SYDNEY

AUSTRALIA

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

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FILM SHORTLIST 27

FRIDAY / JUNE 26 / 2015

CARS, OTHER VEHICLES, AUTO PRODUCTS & SERVICES A10/076 DOG STRETCHING • CITROÈN • C3 E-HDI • ENT./AG. LES GAULOIS PUTEAUX • MED. AG. HAVAS MEDIA PUTEAUX • PROD. CO. CONTROL FILMS PARIS / MIKROS LEVALLOIS-PERRET

FRANCE

A10/079 PSYCHOLOGIST • CAR ONE • TECHNICAL SERVICE • ENT./AG. LEO BURNETT ARGENTINA BUENOS AIRES • PROD. CO. ARGENTINACINE BUENOS AIRES

ARGENTINA

A10/080 DOCTOR • CAR ONE • TECHNICAL SERVICE • ENT./AG. LEO BURNETT ARGENTINA BUENOS AIRES • PROD. CO. ARGENTINACINE BUENOS AIRES

ARGENTINA

A10/083 KIDS • VOLKSWAGEN • DAS WELTAUTO • ENT./AG. DDB PARIS • PROD. CO. CARNIBIRD PARIS / THE PARIS

FRANCE

A10/085 CROCODILE • JAGUAR LAND ROVER SOUTH AFRICA • LAND ROVER • ENT./AG. Y&R SOUTH AFRICA CAPE TOWN • PROD. CO. BLACK GINGER CAPE TOWN

SOUTH AFRICA

A10/086 EAGLE • JAGUAR LAND ROVER SOUTH AFRICA • LAND ROVER • ENT./AG. Y&R SOUTH AFRICA CAPE TOWN • PROD. CO. BLACK GINGER CAPE TOWN

SOUTH AFRICA

A10/087 LION • JAGUAR LAND ROVER SOUTH AFRICA • LAND ROVER • ENT./AG. Y&R SOUTH AFRICA CAPE TOWN • PROD. CO. BLACK GINGER CAPE TOWN

SOUTH AFRICA

A10/089 PROM NIGHT • VOLKSWAGEN CANADA • VOLKSWAGEN TIGUAN • ENT./AG. DDB CANADA VANCOUVER / DDB CANADA TORONTO • MED. AG. MEDIACOM TORONTO • PROD. CO. UNTITLED FILMS TORONTO A10/098 LOVE FROM LAND ROVER • LAND ROVER NEW ZEALAND • AUTOMOTIVE • ENT./AG. Y&R NZ AUCKLAND • MED. AG. Y&R MEDIA NZ AUCKLAND A10/109 THE PERFECT GETAWAY • KIA MOTORS AMERICA • 2016 KIA SORENTO • ENT./AG. DAVID&GOLIATH EL SEGUNDO • PROD. CO. MJZ LOS ANGELES / UNION EDITORIAL LOS ANGELES / THE MILL LOS ANGELES A10/149 MECHANICS • AUDI • AUDI SERVICE • ENT./AG. THJNK HAMBURG / THJNK BERLIN • PROD. CO. ANORAK RADICAL MEDIA BERLIN A10/173 THE SCRIPTED LIFE • AUDI OF AMERICA • 2015 AUDI Q3 • ENT./AG. VENABLES BELL & PARTNERS SAN FRANCISCO • MED. AG. MEDIACOM NEW YORK • PROD. CO. MJZ LOS ANGELES A10/188 THE EMPTY CAR CONVOY_TVC • HYUNDAI MOTOR COMPANY • PRODUCT IDENTITY / GENESIS • ENT./AG. INNOCEAN WORLDWIDE SEOUL • PROD. CO. THE VIRAL FACTORY LONDON

CANADA NEW ZEALAND USA GERMANY USA SOUTH KOREA

HOME ELECTRONICS & AUDIO-VISUAL A11/012 HOW CHINA ARE YOU? • PROTONET • PROTONET SERVER • ENT./AG. KOLLE REBBE HAMBURG • PROD. CO. TEMPOMEDIA HAMBURG / HARVEST DIGITAL AGRICULTURE HAMBURG

GERMANY

A11/038 EPIC SPORTS FAIL • JBL • WIRELESS HEADPHONES • ENT./AG. DONER SOUTHFIELD • PROD. CO. PYTKA PRODUCTIONS LOS ANGELES, CA

USA

A11/039 EPIC CORD FAIL • JBL • WIRELESS HEADPHONES • ENT./AG. DONER SOUTHFIELD • PROD. CO. PYTKA PRODUCTIONS LOS ANGELES, CA

USA

A11/044 THE GAME BEFORE THE GAME • BEATS BY DR. DRE • BEATS SOLO2 • ENT./AG. R/GA LONDON LONDON • PROD. CO. THE SWORD FIGHT LOS ANGELES / ROCK PAPER SCISSORS SANTA MONICA / BREWSTER PARSONS LOS ANGELES

UNITED KINGDOM

RETAIL STORES A12/006 GOTH GIRL • HORNBACH • DIY HOME IMPROVEMENT SUPERSTORES • ENT./AG. HEIMAT BERLIN • PROD. CO. TRIGGER HAPPY PRODUCTIONS BERLIN

GERMANY

A12/011 MONTY’S CHRISTMAS • JOHN LEWIS PARTNERSHIP • CHRISTMAS • ENT./AG. ADAM&EVEDDB LONDON • MED. AG. MANNING GOTTLIEB OMD LONDON • PROD. CO. BLINK PRODUCTIONS LONDON

UNITED KINGDOM

A12/024 BEDS • IKEA • BEDROOM HOME FURNISHINGS / RETAIL • ENT./AG. MOTHER LONDON • MED. AG. VIZEUM LONDON • PROD. CO. MJZ LONDON

UNITED KINGDOM

A12/025 T-SHIRTS • IKEA • STORAGE HOME FURNISHINGS / RETAIL • ENT./AG. MOTHER LONDON • MED. AG. VIZEUM LONDON • PROD. CO. BLINK PRODUCTIONS LONDON

UNITED KINGDOM

A12/027 BEGONIAS • DIXONS CARPHONE • CURRYS PC WORLD • ENT./AG. AMV BBDO LONDON • MED. AG. WALKER MEDIA LONDON • PROD. CO. OUTSIDER LONDON

UNITED KINGDOM

A12/039 READY TO FLY • FOOT LOCKER • FOOT LOCKER • ENT./AG. BBDO NEW YORK • PROD. CO. O POSITIVE NEW YORK

USA

A12/040 THE PROCESS • FOOT LOCKER • FOOT LOCKER • ENT./AG. BBDO NEW YORK • PROD. CO. O POSITIVE NEW YORK

USA

A12/047 ODD LOVE • INTERFLORA • FLOWER DELEVERY • ENT./AG. BRANDHOUSE COPENHAGEN • PROD. CO. BACON COPENHAGEN

DENMARK

A12/077 IT’S REALLY HAPPENING • FOOT LOCKER • FOOT LOCKER • ENT./AG. BBDO NEW YORK • PROD. CO. O POSITIVE NEW YORK

USA

Dianne Bramhill: Tel: +27 21 424 4495 Mobile: +27 82 5506911 production@capedirect.com www.capedirect.com ENT./AG. : ENTRANT AGENCY MED. AG. : MEDIA AGENCY PROD. CO. : PRODUCTION COMPANY

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28 FILM SHORTLIST

FRIDAY / JUNE 26 / 2015

LIONS DAILY NEWS

RETAIL STORES A12/078 EVOLUTION • GANDHI BOOKSTORES • GANDHI BOOKSTORES • ENT./AG. Y&R MEXICO • PROD. CO. ARBOL CINE MEXICO CITY A12/081 COOKIES • IKEA • IKEA CHRISTMAS • ENT./AG. MCCANN MADRID • PROD. CO. PRIMO MADRID A12/090 SAN MARTIN • EASY • INSTITUTIONAL • ENT./AG. DON BUENOS AIRES • PROD. CO. PRIMO BUENOS AIRES A12/103 POSTMODERN HOMELISTIC ART • PROMART HOMECENTER • PROMART HOMECENTER • ENT./AG. FAHRENHEIT DDB LIMA • PROD. CO. 7 SAMURAI LIMA

MEXICO SPAIN ARGENTINA PERU

A12/118 SHAMPOO • ALDI AUSTRALIA • ALDI AUSTRALIA • ENT./AG. BMF ADVERTISING SYDNEY • PROD. CO. RABBIT CONTENT SYDNEY

AUSTRALIA

A12/119 DOCTOR • ALDI AUSTRALIA • ALDI AUSTRALIA • ENT./AG. BMF ADVERTISING SYDNEY • PROD. CO. RABBIT CONTENT SYDNEY

AUSTRALIA

RESTAURANTS & FAST FOOD OUTLETS A13/018 KICK • STARBUCKS • STARBUCKS • ENT./AG. BBDO NEW YORK

USA

A13/019 DATE • STARBUCKS • STARBUCKS • ENT./AG. BBDO NEW YORK

USA

A13/026 POPOV, THE CLOWN • MCDONALD´S GERMANY • MCDONALD´S GERMANY • ENT./AG. THJNK HAMBURG / LEO BURNETT FRANKFURT • PROD. CO. TEMPOMEDIA HAMBURG

GERMANY

A13/043 SIGNS • MCDONALD’S USA • MCDONALD’S • ENT./AG. LEO BURNETT CHICAGO • MED. AG. OMD CHICAGO • PROD. CO. WHITEHOUSE POST CHICAGO

USA

A13/044 ROUTINE REPUBLIC • TACO BELL • BREAKFAST • ENT./AG. DEUTSCH LA • MED. AG. SPARK CHICAGO • PROD. CO. ARTS & SCIENCES LOS ANGELES

USA

TRAVEL, TRANSPORT & TOURISM A14/009 GRANDPA • FLIGHT CENTRE • STUDENT FLIGHTS • ENT./AG. TBWA\HUNT\LASCARIS JOHANNESBURG • PROD. CO. BOUFFANT FILMS JOHANNESBURG

SOUTH AFRICA

A14/025 HORSE WHISPERER • EXPEDIA • EXPEDIA • ENT./AG. OGILVY & MATHER LONDON • MED. AG. PHD LONDON • PROD. CO. MOXIE PICTURES LONDON

UNITED KINGDOM

A14/026 ILLUSIONIST • EXPEDIA • EXPEDIA • ENT./AG. OGILVY & MATHER LONDON • MED. AG. PHD LONDON • PROD. CO. MOXIE PICTURES LONDON

UNITED KINGDOM

A14/027 STUNT MAN • EXPEDIA • EXPEDIA • ENT./AG. OGILVY & MATHER LONDON • MED. AG. PHD LONDON • PROD. CO. MOXIE PICTURES LONDON

UNITED KINGDOM

A14/028 INFREQUENT FLYERS CLUB • TIGERAIR • INFREQUENT FLYERS CLUB • ENT./AG. MCCANN MELBOURNE • PROD. CO. AIRBAG MELBOURNE A14/041 IMAGINE • S7 AIRLINES • S7 AIRLINES • ENT./AG. WIEDEN+KENNEDY AMSTERDAM • MED. AG. EASY-MEDIA MOSCOW • PROD. CO. SMUGGLER LONDON

AUSTRALIA THE NETHERLANDS

ENTERTAINMENT & LEISURE A15/030 ARE YOU READY? • TORONTO 2015 PAN AM / PARAPAN AM GAMES • TORONTO 2015 GAMES • ENT./AG. PIXEL PALETTE TORONTO • PROD. CO. PIXEL PALETTE TORONTO A15/043 DRAMA 1 • SANFIC • SANTIAGO INTERNATIONAL FILM FESTIVAL • ENT./AG. WOLF BCPP SANTIAGO • PROD. CO. TRICICLO FILMS SANTIAGO

CANADA CHILE

A15/053 IF YOU’RE HAPPY • WEIGHT WATCHERS • WEIGHT LOSS • ENT./AG. WIEDEN+KENNEDY PORTLAND • PROD. CO. EPOCH FILMS LOS ANGELES, CA

USA

A15/054 MY BUTT • WEIGHT WATCHERS • WEIGHT LOSS • ENT./AG. WIEDEN+KENNEDY PORTLAND • PROD. CO. SKUNK LOS ANGELES

USA

A15/065 ANAGRAM LOVERS • MATTEL • SCRABBLE • ENT./AG. LOLA LOWE & PARTNERS MADRID • PROD. CO. LANDIA BUENOS AIRES

SPAIN

A15/066 WHAT IF? • NASCAR • GOVERNING BODY/LEAGUE • ENT./AG. OGILVY NEW YORK • PROD. CO. SMUGGLER NEW YORK / CREW CUTS NEW YORK / FRAMESTORE NEW YORK

USA

A15/078 THERE IS NO BIGGER PRICE THAN SHARING • LOTERIAS Y APUESTAS DEL ESTADO • LOTERIA DE NAVIDAD • ENT./AG. LEO BURNETT MADRID MADRID • PROD. CO. RCR FILMS MADRID

SPAIN

A15/080 FOLDER • LOTERIAS Y APUESTAS DEL ESTADO • LOTERIA DE NAVIDAD • ENT./AG. LEO BURNETT MADRID MADRID • PROD. CO. RCR FILMS MADRID

SPAIN

A15/098 100 • LEICA GALLERY SÃO PAULO • LEICA INSTITUTIONAL • ENT./AG. F/NAZCA SAATCHI & SAATCHI SÃO PAULO • PROD. CO. STINK SAO PAULO A15/107 GIRL FRIENDS • FACEBOOK • FACEBOOK • ENT./AG. FACEBOOK CALIFORNIA / THE FACTORY MENLO PARK • MED. AG. MINDSHARE PORTLAND • PROD. CO. MJZ LOS ANGELES

BRAZIL USA

PUBLICATIONS & MEDIA A16/020 THE IMPOSSIBLE ORCHESTRA • BBC • BBC MUSIC • ENT./AG. KARMARAMA LONDON • PROD. CO. RED BEE MEDIA LONDON- EALING CROSS

UNITED KINGDOM

A16/037 KID’S PARTY • THE GUARDIAN • NEWSPAPER • ENT./AG. BBH LONDON • PROD. CO. OUTSIDER LONDON

UNITED KINGDOM

A16/038 FUN RUN • THE GUARDIAN • NEWSPAPER • ENT./AG. BBH LONDON • PROD. CO. OUTSIDER LONDON

UNITED KINGDOM

A16/046 UNICORNS • CANAL + • CANAL + • ENT./AG. BETC PARIS • PROD. CO. SOIXANTE QUINZE PARIS A16/047 COOKING • KLARA • CLASSICAL MUSIC • ENT./AG. FAMOUS BRUSSELS • PROD. CO. CAVIAR BRUSSELS A16/059 HARASSEMENT AT SCHOOL • FRANCE 5 • PROMO • ENT./AG. FRANCE 5 ISSY LE SMOULINEAUX • PROD. CO. LES TÉLÉCRÉATEURS PARIS A16/074 STEVES • LA NACION • ROLLING STONE MAGAZINE • ENT./AG. THE COMMUNITY / LA COMUNIDAD BUENOS AIRES • PROD. CO. FULANO FILMES SÃO PAULO A16/076 HATED BY SOME • BENNETT COLEMAN • MUMBAI MIRROR • ENT./AG. TAPROOT DENTSU MUMBAI • PROD. CO. RAMESH DEO PRODUCTIONS MUMBAI

FRANCE BELGIUM FRANCE ARGENTINA INDIA

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

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the-greenhouse.co.za

Shortlist? It’s just a matter of time.

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30 FILM SHORTLIST

FRIDAY / JUNE 26 / 2015

LIONS DAILY NEWS

BANKING, INVESTMENT & INSURANCE A17/019 CAPTAIN RISKY • BUDGET DIRECT • CAR INSURANCE • ENT./AG. 303LOWE SYDNEY • PROD. CO. GOODOIL FILMS SYDNEY

AUSTRALIA

A17/051 #SORTA: RX • ESURANCE • INSURANCE • ENT./AG. LEO BURNETT CHICAGO • MED. AG. STARCOM MEDIAVEST GROUP CHICAGO • PROD. CO. ANONYMOUS CONTENT CULVER CITY A17/089 KENT AND VAL’S STORY • BARCLAYS • DIGITAL EAGLES SERVICE • ENT./AG. PULSE FILMS LONDON / BBH LONDON • PROD. CO. PULSE FILMS LONDON

USA UNITED KINGDOM

A17/095 LIFE MOVES FORWARD • BNP PARIBAS FORTIS • BANK • ENT./AG. PUBLICIS BRUSSELS • PROD. CO. CZAR BRUSSELS

BELGIUM

A17/100 WORDS • GEICO • INSURANCE • ENT./AG. @RADICAL.MEDIA SANTA MONICA / THE MARTIN AGENCY RICHMOND • PROD. CO. @RADICAL.MEDIA SANTA MONICA A17/102 EPIC STRUT • MONEYSUPERMARKET • CAR INSURANCE • ENT./AG. MOTHER LONDON • PROD. CO. SONNY LONDON A17/103 WELCOME • CENTRAAL BEHEER ACHMEA • INSURANCE COMPANY • ENT./AG. DDB & TRIBAL WORLDWIDE AMSTERDAM

USA UNITED KINGDOM THE NETHERLANDS

A17/108 BECOMING A FIRST TIME DIRECTOR • PRUDENTIAL FINANCIAL • FINANCIAL SERVICES • ENT./AG. DROGA5 NEW YORK • PROD. CO. BRAINWASH FILMS SANTA MONICA

USA

A17/109 DESIGNING FOR NAOMI WATTS • PRUDENTIAL FINANCIAL • FINANCIAL SERVICES • ENT./AG. DROGA5 NEW YORK • PROD. CO. INTERROGATE NEW YORK

USA

A17/127 THE NOTEBOOK • DIALDIRECT • DIALDIRECT INSURANCE • ENT./AG. JOE PUBLIC UNITED JOHANNESBURG • PROD. CO. VELOCITY FILMS CAPE TOWN

SOUTH AFRICA

A17/132 JACKPOT • MEXICAN INSURANCE ASSOCIATION • HEALTH INSURANCES • ENT./AG. OGILVY & MATHER MEXICO CITY • PROD. CO. THE MAESTROS MEXICO CITY

MEXICO

BUSINESS EQUIPMENT & SERVICES A18/012 DREAM ON • ADOBE • PHOTOSHOP • ENT./AG. GOODBY SILVERSTEIN & PARTNERS SAN FRANCISCO • PROD. CO. ELEVEL FILMS SAN FRANCISCO / ROCK PAPER SCISSORS SANTA MONICA

USA

A18/020 MOTHER • CHANGYOU.COM GAME DEVELOPER • CHANGYOU.COM GAME DEVELOPER • ENT./AG. DEL CAMPO SAATCHI & SAATCHI MADRID MADRID/SAATCHI GREATER CHINA SHANGHAI • MED. AG. ZENITHOPTIMEDIA SHANGHAI • PROD. CO. PRIMO BUENOS AIRES SPAIN A18/021 LITTLE GIRL • CHANGYOU.COM GAME DEVELOPER • CHANGYOU.COM GAME DEVELOPER • ENT./AG. DEL CAMPO SAATCHI & SAATCHI MADRID/SAATCHI GREATER CHINA SHANGHAI • MED. AG. ZENITHOPTIMEDIA SHANGHAI • PROD. CO. PRIMO BUENOS AIRES

SPAIN

A18/029 TRUE LOVE • 3 MOBILE • MOBILE SERVICE PROVIDER • ENT./AG. INGO STOCKHOLM • PROD. CO. STINK LONDON / ICON FILM BUCHAREST

SWEDEN

A18/038 CIRCUS • BROTHER • BROTHER P-TOUCH LABELLING MACHINE • ENT./AG. ROSAPARK PARIS • MED. AG. HAVAS MEDIA FRANCE PUTEAUX • PROD. CO. HENRY PARIS

FRANCE

COMMERCIAL PUBLIC SERVICES A19/006 AIRPORT • NETFLIX • ENTERTAINMENT • ENT./AG. DDB CANADA VANCOUVER • MED. AG. MEC NEW YORK • PROD. CO. STEAM FILMS VANCOUVER / ANONYMOUS CONTENT NEW YORK

CANADA

A19/016 BURRITO • GRUBHUB • GRUBHUB.COM • ENT./AG. BARTON F. GRAF 9000 NEW YORK • PROD. CO. BISCUIT FILMWORKS LOS ANGELES

USA

A19/023 MURMURATION • SKY • ON DEMAND • ENT./AG. DDB GROUP NEW ZEALAND AUCKLAND • PROD. CO. THE SWEET SHOP AUCKLAND

NEW ZEALAND

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UNITED ARAB EMIRATES

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UNITED ARAB EMIRATES

A19/037 EMILY’S OZ • COMCAST/XFINITY • COMCAST/XFINITY • ENT./AG. GOODBY SILVERSTEIN & PARTNERS NY NEW YORK • MED. AG. MEDIAVEST NEW YORK • PROD. CO. BISCUIT FILMWORKS LOS ANGELES / ROCK PAPER SCISSORS NEW YORK / A52 SANTA MONICA USA A19/092 THE KAYAK • FINN.NO • CLASSIFIED ADS • ENT./AG. TRY OSLO • PROD. CO. MOTION BLUR OSLO

NORWAY

A19/094 CLOWNS • CANAL DIGITAL • CABLE & SATELLITE TV PROVIDERS • ENT./AG. TBWA\STOCKHOLM • MED. AG. MAXUS GLOBAL STOCKHOLM • PROD. CO. BACON FILM STOCKHOLM / STOPP/FAMILY STOCKHOLM / THELMA & LOUISE STOCKHOLM

SWEDEN

A19/107 THE SILVER HAND • CANAL DIGITAL • WEEKLY ARCHIVE • ENT./AG. TRY OSLO • PROD. CO. BACON OSL OSLO

NORWAY

A19/113 GRADS • GOOGLE • SEARCH • ENT./AG. GOOGLE NEW YORK / GOOGLE CREATIVE LAB NEW YORK • MED. AG. PHD NEW YORK • PROD. CO. BEAST EDITORIAL NEW YORK / MIXTAPE CLUB NEW YORK

USA

A19/114 TO THE MOON • GOOGLE • SEARCH • ENT./AG. GOOGLE NEW YORK / GOOGLE CREATIVE LAB NEW YORK • MED. AG. PHD NEW YORK • PROD. CO. COSMO STREET NEW YORK / METHOD STUDIOS NEW YORK

USA

CORPORATE IMAGE & COMMUNICATION A20/006 NEVER STANDING STILL • JOHN LEWIS • 150 YEARS • ENT./AG. ADAM&EVEDDB LONDON • MED. AG. MANNING GOTTLIEB OMD LONDON • PROD. CO. BLINK PRODUCTIONS LONDON

UNITED KINGDOM

A20/010 LEBRON JAMES TOGETHER • NIKE • FOOTWEAR, CLOTHING & ACCESSORIES • ENT./AG. WIEDEN+KENNEDY PORTLAND • PROD. CO. HSI PRODUCTIONS LOS ANGELES

USA

A20/012 THE BOY WHO BEEPS • GE • GE • ENT./AG. BBDO NEW YORK • PROD. CO. PARK PICTURES NEW YORK

USA

A20/022 CAMERAMEN • CANAL + • CANAL + • ENT./AG. BETC PARIS • PROD. CO. HENRY PARIS A20/038 BARRIER BREAKERS • NATIONAL BASKETBALL ASSOCIATION • SPORTS • ENT./AG. TRANSLATION NEW YORK • MED. AG. MEDIA STORM SOUTH NORWALK A20/057 THE HERO • HEINEKEN • BEER • ENT./AG. PUBLICIS ITALY MILAN • MED. AG. STARCOM MEDIAVEST GROUP AMSTERDAM • PROD. CO. MJZ LONDON

FRANCE USA ITALY

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

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PUBLIC HEALTH & SAFETY A21/015 BASKETBALL • PARTICIPACTION • PSA • ENT./AG. ZULU ALPHA KILO TORONTO • MED. AG. COSSETTE MEDIA TORONTO • PROD. CO. CIRCLE PRODUCTIONS TORONTO

CANADA

A21/016 HOCKEY • PARTICIPACTION • PSA • ENT./AG. ZULU ALPHA KILO TORONTO • MED. AG. COSSETTE MEDIA TORONTO • PROD. CO. CIRCLE PRODUCTIONS TORONTO

CANADA

A21/017 PLAYGROUND • PARTICIPACTION • PSA • ENT./AG. ZULU ALPHA KILO TORONTO • MED. AG. COSSETTE MEDIA TORONTO • PROD. CO. CIRCLE PRODUCTIONS TORONTO

CANADA

A21/020 MESSENGER • SOCIÉTÉ DE L’ASSURANCE AUTOMOBILE DU QUÉBEC • ROAD SAFETY • ENT./AG. LG2 QUÉBEC • MED. AG. TOUCHE! MONTRÉAL • PROD. CO. QUATRE ZÉRO UN MONTRÉAL

CANADA

A21/023 TIED • SOCIÉTÉ DE L’ASSURANCE AUTOMOBILE DU QUÉBEC • ROAD SAFETY • ENT./AG. LG2 QUÉBEC • MED. AG. TOUCHE! MONTRÉAL • PROD. CO. LA CAVALERIE MONTREAL

CANADA

A21/034 50TH ANNIVERSARY • DEPARTMENT FOR TRANSPORT • THINK • ENT./AG. AMV BBDO LONDON • MED. AG. CARAT LONDON • PROD. CO. ROGUE LONDON A21/039 STRINGS • TRANSPORT ACCIDENT COMMISSION • TRANSPORT ACCIDENT COMMISSION • ENT./AG. CLEMENGER BBDO MELBOURNE • MED. AG. MITCHELLS MELBOURNE • PROD. CO. FINCH MELBOURNE / BLINK PRODUCTIONS LONDON A21/055 REVERSE • FONDAZIONE EXODUS • DON’T DRINK & DRIVE • ENT./AG. MCCANN WORLDGROUP MILAN • MED. AG. UNIVERSAL MCCANN MILAN • PROD. CO. COLLATERAL FILMS MILAN

UNITED KINGDOM AUSTRALIA ITALY

PUBLIC AWARENESS MESSAGES A22/023 NOT ALLOWED • MOMS DEMAND ACTION FOR GUN SENSE IN AMERICA • PUBLIC AWARENESS - GUN CONTROL • ENT./AG. GREY CANADA TORONTO • PROD. CO. SPY FILMS TORONTO A22/026 LISTEN • NFL • PUBLIC AWARENESS PSA/NOMORE.ORG • ENT./AG. CHELSEA PICTURES NEW YORK / GREY NEW YORK • PROD. CO. CHELSEA PICTURES NEW YORK A22/029 THIS GIRL CAN 90’ • SPORT ENGLAND • SPORT ENGLAND • ENT./AG. FCB INFERNO LONDON • MED. AG. CARAT LONDON • PROD. CO. SOMESUCH LONDON A22/047 CONGRATULATIONS • AVITE • ASSOCIATION • ENT./AG. AVITE MURCIA / VERSUS MADRID • PROD. CO. BLUR PRODUCCIONES MADRID A22/074 ELLEEMAE • MUMSNET • EDUCATION INITIATIVE: TEACH YOUR KIDS TO DIAL 999 • ENT./AG. GREY LONDON • PROD. CO. ACADEMY FILMS LONDON A22/084 HUMANS FOR HUMANS • RAISING THE ROOF • RAISING THE ROOF • ENT./AG. LEO BURNETT TORONTO • MED. AG. M&K MEDIA TORONTO • PROD. CO. OPC FAMILYSTYLE TORONTO / ROOSTER POST PRODUCTION TORONTO

CANADA USA UNITED KINGDOM SPAIN UNITED KINGDOM CANADA

FUNDRAISING, DONATIONS & APPEALS A23/003 LEARN THE HARD WAY • THE PRINCE’S TRUST • CHARITY • ENT./AG. CHI & PARTNERS LONDON • MED. AG. M/SIX LONDON • PROD. CO. ACADEMY FILMS LONDON A23/017 LIGHTS • ADOT.COM • NPO • ENT./AG. OGILVY & MATHER JAPAN TOKYO • PROD. CO. ASD LIONHEART LONDON / CUT + RUN LONDON / FOUR WALLS LONDON

UNITED KINGDOM JAPAN

A23/025 UNFORGETTABLE ACCOUNT • BANPLUS • ALZHEIMER’S CARE • ENT./AG. FCB RG2 CARACAS • PROD. CO. WHISKEY FILMS CARACAS

VENEZUELA

A23/047 THE MAN AND THE DOG • FUNDACION ARGENTINA DE TRANSPLANTE HEPATICO • ORGAN DONATION • ENT./AG. DDB BUENOS AIRES BUENOS AIRES • MED. AG. OMD ARGENTINA BUENOS AIRES • PROD. CO. CENTRAL FILMS MEXICO CITY

ARGENTINA

FAST MOVING CONSUMER GOODS B01/018 FIRST MOON PARTY • HELLOFLO • PERIOD STARTER KIT/TAMPON SUBSCRIPTION SERVICE • ENT./AG. HAYDEN 5 MEDIA NEW YORK • PROD. CO. HAYDEN 5 MEDIA NEW YORK

USA

B01/034 BAND OF BRANDS TEASER • HEINKEN USA • NEWCASTLE BROWN ALE • ENT./AG. DROGA5 NEW YORK • MED. AG. MEDIAVEST NEW YORK • PROD. CO. CAVIAR LOS ANGELES

USA

B01/035 CALL FOR BRANDS • HEINKEN USA • NEWCASTLE BROWN ALE • ENT./AG. DROGA5 NEW YORK • MED. AG. MEDIAVEST NEW YORK • PROD. CO. CAVIAR LOS ANGELES

USA

B01/040 HOME IS IN THE AIR • AIR WICK • AIR CARE • ENT./AG. DROGA5 NEW YORK • PROD. CO. ÜBER CONTENT NEW YORK

USA

B01/044 DIAL UP - PAINFULLY SLOW INTERNET VERSION • MARS CHOCOLATE NORTH AMERICA • TWIX BITES • ENT./AG. BBDO NEW YORK • PROD. CO. SMUGGLER NEW YORK

USA

B01/051 STEPHEN MERCHANT PRESENTS “IF WE WON” WITH NEWCASTLE BROWN ALE • HEINKEN USA • NEWCASTLE BROWN ALE • ENT./AG. DROGA5 NEW YORK • MED. AG. MEDIAVEST NEW YORK • PROD. CO. SMUGGLER LOS ANGELES, CA

USA

B01/061 GREGORY • UNILEVER • MAGNUM • ENT./AG. LOLA LOWE & PARTNERS MADRID • PROD. CO. PROPAGANDA PRODUCCIONES MADRID

SPAIN

B01/065 HOTEL • UNILEVER • AXE • ENT./AG. BBH NEW YORK • MED. AG. MINDSHARE NEW YORK • PROD. CO. SMUGGLER NEW YORK

USA

B01/069 CALLS FOR DAD • DOVE MEN+CARE • BRAND SPOT • ENT./AG. THE MARKETING ARM LOS ANGELES • MED. AG. MINDSHARE NEW YORK • PROD. CO. STUN CREATIVE LOS ANGELES

USA

B01/077 DADHOOD • GENERAL MILLS • PEANUT BUTTER CHEERIOS • ENT./AG. TRIBAL WORLDWIDE, A DIVISION OF DDB • PROD. CO. RADKE TORONTO B01/099 A MOTHER’S BODY • UNILEVER • DOVE • ENT./AG. OGILVY & MATHER LONDON • PROD. CO. TANTRUM LONDON

CANADA UNITED KINGDOM

B01/148 BRO • GATORADE • GATORADE • ENT./AG. TBWA\CHIAT\DAY LOS ANGELES • MED. AG. OMD LOS ANGELES • PROD. CO. CAVIAR LOS ANGELES

USA

B01/149 YOGA • GATORADE • GATORADE • ENT./AG. TBWA\CHIAT\DAY LOS ANGELES • MED. AG. OMD LOS ANGELES • PROD. CO. CAVIAR LOS ANGELES

USA

B01/150 FOR REAL • GATORADE • GATORADE • ENT./AG. TBWA\CHIAT\DAY LOS ANGELES • MED. AG. OMD LOS ANGELES • PROD. CO. CAVIAR LOS ANGELES

USA

CARS & AUTOMOTIVE SERVICES B02/027 REDUCE SPEED DIAL • VOLKSWAGEN • VOLKSWAGEN • ENT./AG. COLENSO BBDO AUCKLAND • MED. AG. FCB MEDIA AUCKLAND • PROD. CO. FINCH AUCKLAND

NEW ZEALAND

B02/034 THE EMPTY CAR CONVOY • HYUNDAI MOTOR COMPANY • GENESIS/PRODUCT IDENTITY • ENT./AG. INNOCEAN WORLDWIDE SEOUL • PROD. CO. THE VIRAL FACTORY LONDON

SOUTH KOREA

B02/035 LIFEPAINT • VOLVO UK • VOLVO BRAND • ENT./AG. GREY LONDON • PROD. CO. CAVIAR LONDON / CLEAR.AS LONDON B02/044 MECHANICS • AUDI • AUDI SERVICE • ENT./AG. THJNK HAMBURG / THJNK BERLIN • PROD. CO. ANORAK RADICAL MEDIA BERLIN

UNITED KINGDOM GERMANY

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

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OTHER CONSUMER PRODUCTS (INCL. DURABLE GOODS) B03/037 37 DAYS • ATLANTIC GROUP • HEATERS • ENT./AG. LEO BURNETT FRANCE PARIS • PROD. CO. QUAD PRODUCTIONS CLICHY / LA CAVALERIE MONTREAL

FRANCE

B03/049 SUNSET OVERDRIVE UNFILMABLE GAME • MICROSOFT XBOX • SUNSET OVERDRIVE • ENT./AG. TWOFIFTEENMCCANN SAN FRANCISCO • PROD. CO. MJZ LOS ANGELES

USA

B03/064 ORIGINAL SUPERSTAR • ADIDAS ORIGINALS • SNEAKERS • ENT./AG. JOHANNES LEONARDO NEW YORK • MED. AG. CARAT LONDON • PROD. CO. CAVIAR LOS ANGELES

USA

B03/081 REVIVEAPHONE • REVIVEAPHONE • REVIVEAPHONE • ENT./AG. LG2 MONTRÉAL • PROD. CO. 1ONE MONTRÉAL B03/089 JOE BOXER INACTIVITY TRACKER • KMART / JOE BOXER • JOE BOXER INACTIVITY TRACKER • ENT./AG. FCB CHICAGO • PROD. CO. OPTIMUS CHICAGO B03/092 INVISIBLE RUNNERS • ALPARGATAS • MIZUNO • ENT./AG. F/NAZCA SAATCHI & SAATCHI SÃO PAULO • PROD. CO. URSO MORTO SÃO PAULO

CANADA USA BRAZIL

B03/120 WINNER STAYS • NIKE • APPAREL/FOOTWEAR • ENT./AG. WIEDEN+KENNEDY PORTLAND • MED. AG. MINDSHARE PORTLAND • PROD. CO. RATTLING STICK LONDON / THE MISSION VENICE / LUMA PICTURES SANTA MONICA

USA

B03/121 THE LAST GAME • NIKE • FOOTWEAR/APPAREL • ENT./AG. WIEDEN+KENNEDY PORTLAND • MED. AG. MINDSHARE PORTLAND • PROD. CO. PASSION PICTURES LONDON

USA

TRAVEL, LEISURE & RETAIL (INCL. E-COMMERCE & RESTAURANTS) B04/023 1914 TRUCE (3MIN) • SAINSBURY’S • SAINSBURY’S • ENT./AG. AMV BBDO LONDON • MED. AG. PHD LONDON • PROD. CO. RATTLING STICK LONDON B04/031 CALL OF DUTY: ADVANCED WARFARE REVEAL • ACTIVISION • TRAILER • ENT./AG. ANT FARM LOS ANGELES B04/036 EVERYDAY HEROES • IKEA GLOBAL COMMUNICATIONS • DEPARTMENTS STORES • ENT./AG. FORSMAN & BODENFORS GOTHENBURG • PROD. CO. ANONYMOUS CONTENT CULVER CITY B04/052 PROUD WHOPPER • BURGER KING • WHOPPER • ENT./AG. DAVID MIAMI • MED. AG. HORIZON MEDIA NEW YORK • PROD. CO. SMUGGLER NEW YORK B04/074 HERE’S TO THE CHEAP ONES • SIMMPLY MACS • SIMMPLY MACS • ENT./AG. FCB TORONTO • PROD. CO. SOMEPLACE NICE TORONTO B04/077 CLEANED OUT • HERTZ • VAN RENTAL • ENT./AG. ADAM&EVEDDB LONDON • MED. AG. FORWARD3D LONDON • PROD. CO. SMUGGLER LONDON

UNITED KINGDOM USA SWEDEN USA CANADA UNITED KINGDOM

FINANCIAL SERVICES, COMMERCIAL PUBLIC SERVICES, BUSINESS PRODUCTS & SERVICES B05/038 UNSKIPPABLE: FAMILY • GEICO • INSURANCE • ENT./AG. THE MARTIN AGENCY RICHMOND • MED. AG. HORIZON MEDIA LOS ANGELES • PROD. CO. PARK PICTURES NEW YORK

USA

B05/039 UNSKIPPABLE: ELEVATOR • GEICO • INSURANCE • ENT./AG. THE MARTIN AGENCY RICHMOND • MED. AG. HORIZON MEDIA LOS ANGELES • PROD. CO. PARK PICTURES NEW YORK

USA

B05/040 UNSKIPPABLE: HIGH FIVE • GEICO • INSURANCE • ENT./AG. THE MARTIN AGENCY RICHMOND • MED. AG. HORIZON MEDIA LOS ANGELES • PROD. CO. PARK PICTURES NEW YORK

USA

B05/041 UNSKIPPABLE: CLEANING CREW • GEICO • INSURANCE • ENT./AG. THE MARTIN AGENCY RICHMOND • MED. AG. HORIZON MEDIA LOS ANGELES • PROD. CO. PARK PICTURES NEW YORK

USA

B05/081 3-SECOND COOKING “SHRIMP FRYING CANNON” • NTT DOCOMO • EXPANDED LTE NETWORK • ENT./AG. AOI PRO. TOKYO / TOKYU AGENCY TOKYO / NTT ADVERTISING TOKYO • PROD. CO. AOI PRO. TOKYO

JAPAN

B05/082 3-SECOND COOKING “SUPER FRIED DUMPLING” • NTT DOCOMO • LTE ADVANCED (PREMIUM 4G) • ENT./AG. AOI PRO. TOKYO / TOKYU AGENCY TOKYO / NTT ADVERTISING TOKYO • PROD. CO. AOI PRO. TOKYO

JAPAN

B05/097 TASTE THE TRANSLATION • ELAN • TRANSLATOR • ENT./AG. J. WALTER THOMPSON AMSTERDAM • PROD. CO. DPPLR AMSTERDAM B05/105 WEDDING PARTY • TOSANDO MUSIC • MUSIC SCHOOL • ENT./AG. TOSANDO MORIOKA CITY / IWATE NIOPPO KOUKOKUSHA IWATE • PROD. CO. MAESAKU MORIOKA CITY

THE NETHERLANDS JAPAN

PUBLICATIONS & MEDIA B06/008 DEAD ISLAND E3 CGI TRAILER • KOCH MEDIA / DEEP SILVER • DEAD ISLAND 2 • ENT./AG. DEEP SILVER PLANEGG MUNCHEN B06/019 DISTORTED FACT • VEJA MAGAZINE • VEJA MAGAZINE • ENT./AG. ALMAPBBDO SÃO PAULO • PROD. CO. BOSSA NOVA FILMS SÃO PAULO

GERMANY BRAZIL

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

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CORPORATE IMAGE & COMMUNICATION B07/002 EVERY DAY IS DAY ONE • SAMSUNG • ASP SURF SPONSORSHIP, SAMSUNG GS5 • ENT./AG. 72ANDSUNNY AMSTERDAM • PROD. CO. SMUGGLER LONDON / EXIT FILMS MELBOURNE

THE NETHERLANDS

B07/014 50 • GATORADE • GATORADE • ENT./AG. TBWA\CHIAT\DAY LOS ANGELES • MED. AG. OMD LOS ANGELES • PROD. CO. HSI PRODUCTIONS LOS ANGELES

USA

B07/020 HAPPY NEW YEAR CHARLES • HAVAS PARIS • GREETING CARD • ENT./AG. HAVAS WORLDWIDE PARIS • PROD. CO. QUAD PRODUCTIONS CLICHY

FRANCE

B07/029 DAS LEBEN BRAUCHT MUT • SUVA • INSURANCE / CORPORATE FILM • ENT./AG. STORIES ZURICH • PROD. CO. STORIES ZURICH

SWITZERLAND

B07/035 SNOWMAN • ZÜRICH INSURANCE • BRAND IMAGE • ENT./AG. MCCANN WORLDGROUP LONDON • MED. AG. UM LONDON • PROD. CO. FISH FILM MADRID

UNITED KINGDOM

B07/042 SAVING ASLAN • FIXODENT • DENTURE ADHESIVE • ENT./AG. SAATCHI & SAATCHI MILAN • MED. AG. STARCOM MEDIAVEST GROUP LONDON • PROD. CO. GOLDEN PLANES CAPE TOWN

ITALY

B07/057 CHOOSE BEAUTIFUL • UNILEVER • DOVE • ENT./AG. OGILVY & MATHER CHICAGO • MED. AG. PHD LONDON • PROD. CO. JOINERY LOS ANGELES

USA

B07/063 CALL HER NAME • POLA • RED B.A • ENT./AG. HAKUHODO TOKYO / CYBERCASTING & PR (CCPR) TOKYO • PROD. CO. TOKYO TOKYO

JAPAN

B07/077 ROB REILLY: 35 YEARS FROM NOW • AICP • AICP SHOW • ENT./AG. MCCANN WORLDGROUP NEW YORK / BARTON F. GRAF 9000 NEW YORK • PROD. CO. O POSITIVE NEW YORK

USA

CHARITIES, FUNDRAISING, APPEALS, NON-PROFIT ORGANISATIONS, PUBLIC HEALTH & SAFETY, PUBLIC AWARENESS MESSAGES B08/055 805 MILLION NAMES • UNITED NATIONS WORLD FOOD PROGRAMME • FIGHTING HUNGER WORLDWIDE • ENT./AG. FORSMAN & BODENFORS GOTHENBURG • PROD. CO. NEW LAND STOCKHOLM / ICONOCLAST PARIS

SWEDEN

B08/056 THE EQUAL PAY BACK PROJECT • NATIONAL WOMEN’S LAW CENTER • PSA • ENT./AG. DROGA5 NEW YORK • PROD. CO. JASH CULVER CITY

USA

B08/112 NOBODY’S MEMORIES (60) • PFLAG • PFLAG • ENT./AG. FCB TORONTO • MED. AG. INITIATIVE TORONTO • PROD. CO. LORD + THOMAS CHICAGO / DUCK POND CREATIVE MARINA DEL RAY

CANADA

B08/114 KANAR • REPORTERS WITHOUT BORDERS (RSF) • NGO • ENT./AG. PUBLICIS BRUSSELS • PROD. CO. ADULT IMAGE BRUSSELS

BELGIUM

B08/115 DUBUS • REPORTERS WITHOUT BORDERS (RSF) • NGO • ENT./AG. PUBLICIS BRUSSELS • PROD. CO. ADULT IMAGE BRUSSELS

BELGIUM

B08/116 QUIRIT • REPORTERS WITHOUT BORDERS (RSF) • NGO • ENT./AG. PUBLICIS BRUSSELS • PROD. CO. ADULT IMAGE BRUSSELS

BELGIUM

B08/124 LEGO: EVERYTHING IS NOT AWESOME • GREENPEACE • SAVE THE ARCTIC • ENT./AG. DON’T PANIC LONDON • PROD. CO. UNIT9 LONDON

UNITED KINGDOM

europe, asia, africa, america or oceana?

ultra prime, master prime or leica prime?

dirhams, yen, won. japan, korea, uae. but which where? whatever you need to know about film production in the middle east you need to talk to boomtown productions. visit us at boomtown-productions.com the answers, by the way, are hatta, dubai, so technically africa, leica prime and dirhams in the uae, yen in japan and won in korea.

TM

the knowledge

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B08/127 THE TALK • BROTHER SISTER SOL • YOUTH ORGANIZATION • ENT./AG. SAATCHI & SAATCHI NEW YORK • PROD. CO. AERO FILM NEW YORK

USA

B08/138 THE WORLD WANTS MORE OF A GOOD THING • INDIAN CONFEDERATION OF NGOS (ICONGO) • APPEAL • ENT./AG. BBDO INDIA GURGAON • PROD. CO. FLYING SAUCER PICTURES MUMBAI

INDIA

B08/149 YOUTUBE ARRELS • ARRELS FUNDACIÎ • NGO • ENT./AG. THE CYRANOS//MCCANN BARCELONA • PROD. CO. OXIGENO BARCELONA

SPAIN

B08/158 MUMS AND MAIDS • TRANSIENT WORKERS COUNT TOO (TWC2) • TWC2 • ENT./AG. OGILVY & MATHER SINGAPORE • PROD. CO. H&O SINGAPORE

SINGAPORE

B08/160 MADE WITH CODE ANTHEM FILM • GOOGLE • MADE WITH CODE • ENT./AG. RED & CO. PORTLAND

USA

VIRAL FILM C01/019 UNSKIPPABLE: FAMILY LONG FORM 01 • GEICO • INSURANCE • ENT./AG. THE MARTIN AGENCY RICHMOND • MED. AG. HORIZON MEDIA LOS ANGELES • PROD. CO. PARK PICTURES NEW YORK

USA

C01/045 #LIKEAGIRL • PROCTER & GAMBLE • ALWAYS • ENT./AG. LEO BURNETT TORONTO / LEO BURNETT CHICAGO / LEO BURNETT LONDON / HOLLER LONDON • MED. AG. STARCOM MEDIAVEST TORONTO • PROD. CO. CHELSEA PICTURES LOS ANGELES C01/046 GOODBYE BAD LUCK • LOTO LIBANAIS • LOTO • ENT./AG. IMPACT BBDO DUBAI • PROD. CO. BIG KAHUNA FILMS DUBAI

CANADA

UNITED ARAB EMIRATES

C01/054 DRIVER FOR A DAY • UPS • LOGISTICS • ENT./AG. OGILVY NEW YORK • MED. AG. NEO@OGILVY NEW YORK • PROD. CO. FIONA NEW YORK

USA

C01/058 BARELY LEGAL PAWN • AUDI OF AMERICA • BRAND • ENT./AG. PMK*BNC NEW YORK CITY, NY • PROD. CO. PAULILU LOS ANGELES

USA

C01/062 THE COLLECTIVE PROJECT • MICROSOFT • ONENOTE • ENT./AG. POSSIBLE SEATTLE SEATTLE

USA

C01/066 A MESSAGE TO SPACE • HYUNDAI MOTOR COMPANY • BRAND CAMPAIGN • ENT./AG. INNOCEAN WORLDWIDE SEOUL • PROD. CO. PLANIT SEOUL / ADDICT MEDIA FILMS SEOUL / D.TRIBE SEOUL

SOUTH KOREA

C01/067 GOL! • MCDONALD´S • MCDONALD´S • ENT./AG. DDB CHICAGO • MED. AG. OMD CHICAGO • PROD. CO. SMUGGLER NEW YORK / WHITEHOUSE POST CHICAGO

USA

C01/070 LOVE HAS NO LABELS • ADCOUNCIL • LOVE HAS NO LABELS • ENT./AG. R/GA NEW YORK • PROD. CO. PERSUADE & INFLUENCE LOS ANGELES / BREWSTER PARSONS LOS ANGELES

USA

C01/077 THE WORLD’S TOUGHEST JOB • AMERICAN GREETINGS • CARDSTORE.COM • ENT./AG. MULLEN LOWE U.S BOSTON • PROD. CO. CAVIAR LOS ANGELES

USA

C01/089 BEER TOOTH IMPLANT • CCU • CERVEZA SALTA • ENT./AG. OGILVY & MATHER ARGENTINA BUENOS AIRES • PROD. CO. HUINCA CINE BUENOS AIRES

ARGENTINA

C01/090 RE2PECT • JORDAN BRAND • JORDAN BRAND • ENT./AG. WIEDEN+KENNEDY NEW YORK • PROD. CO. ARTS & SCIENCES LOS ANGELES

USA

SHORT NON-FICTION FILM (UNDER 10 MINUTES) D01/005 BETWEEN TWO FERNS WITH ZACH GALIFIANAKIS: PRESIDENT BARACK OBAMA • WHITE HOUSE • HEALTHCARE.GOV • ENT./AG. FUNNY OR DIE LOS ANGELES

USA

D01/015 OK GO: I WON’T LET YOU DOWN • OK GO + HONDA • HUNGRY GHOST (OK GO ALBUM) / UNI-CUB • ENT./AG. MORI TOKYO / DRILL TOKYO / DENTSU INC. TOKYO • PROD. CO. MORIMORI TOKYO

JAPAN

D01/021 WIN FROM WITHIN: BEN JACKSON • GATORADE • GATORADE • ENT./AG. VML KANSAS CITY • MED. AG. OMD CHICAGO D01/023 1914 TRUCE • SAINSBURY’S • SAINSBURY’S • ENT./AG. AMV BBDO LONDON • MED. AG. PHD LONDON • PROD. CO. RATTLING STICK LONDON

USA UNITED KINGDOM

D01/038 DREW BREES • OLD SPICE • PERSONAL CARE • ENT./AG. WIEDEN+KENNEDY PORTLAND • PROD. CO. WORLD WAR SEVEN LOS ANGELES

USA

D01/039 EARL THOMAS • OLD SPICE • PERSONAL CARE • ENT./AG. WIEDEN+KENNEDY PORTLAND • PROD. CO. WORLD WAR SEVEN LOS ANGELES

USA

D01/040 JAMAAL CHARLES • OLD SPICE • PERSONAL CARE • ENT./AG. WIEDEN+KENNEDY PORTLAND • PROD. CO. WORLD WAR SEVEN LOS ANGELES

USA

D01/041 THE GAME BEFORE THE GAME • BEATS BY DR. DRE • BEATS SOLO2 • ENT./AG. R/GA LONDON LONDON • PROD. CO. THE SWORD FIGHT LOS ANGELES / ROCK PAPER SCISSORS SANTA MONICA / BREWSTER PARSONS LOS ANGELES

UNITED KINGDOM

D01/042 LEBRON RE-ESTABLISHED 2014 • BEATS BY DR. DRE • POWERBEATS2 WIRELESS • ENT./AG. R/GA LOS ANGELES LOS ANGELES • PROD. CO. THE SWORD FIGHT LOS ANGELES

USA

Since 1993

Your Film Service Partner for your projects in:

SPAIN, PORTUGAL, BULGARIA and all BALKANS www.mendips.es ENT./AG. : ENTRANT AGENCY MED. AG. : MEDIA AGENCY PROD. CO. : PRODUCTION COMPANY

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LIONS DAILY NEWS

SHORT NON-FICTION FILM (UNDER 10 MINUTES) D01/044 THE GUN SHOP • STATES UNITED TO PREVENT GUN VIOLENCE • ANTI-GUN VIOLENCE • ENT./AG. GREY NEW YORK • PROD. CO. RIVAL SCHOOL PICTURES NEW YORK / THE MILL NEW YORK

USA

D01/091 BRINGING THE WORLD TO BRITAIN • NEWS UK • THE TIMES/THE SUNDAY TIMES • ENT./AG. GREY LONDON • MED. AG. MSIX MEDIA AGENCY LONDON • PROD. CO. BETSY WORKS LONDON / ENVY POST PRODUCTION LONDON

UNITED KINGDOM

D01/092 THE FIFA FILES • NEWS UK • THE TIMES/THE SUNDAY TIMES • ENT./AG. GREY LONDON • MED. AG. MSIX MEDIA AGENCY LONDON • PROD. CO. BETSY WORKS LONDON / ENVY POST PRODUCTION LONDON

UNITED KINGDOM

LONG NON-FICTION FILM (OVER 10 MINUTES) D02/001 EXPERIMENT ALONE: BOB DYLAN • PAF.COM • ONLINE GAMBLING/CASINO • ENT./AG. DOE BLOMBERG GOTTBERG STOCKHOLM • PROD. CO. THELMA & LOUISE STOCKHOLM

SWEDEN

D02/003 DISTORTION OF SOUND • HARMAN INTERNATIONAL INDUSTRIES INC • AUDIO EQUIPMENT • ENT./AG. KBS+ NEW YORK • PROD. CO. BANDITO BROTHERS LOS ANGELES, CA

USA

D02/024 THE DREAM • VISA • VISA • ENT./AG. BBDO NEW YORK • PROD. CO. MOXIE PICTURES NEW YORK

USA

SHORT FICTION FILM (UNDER 10 MINUTES) D03/002 PROTOTYPE • CHANNEL 4 • BORN RISKY • ENT./AG. 4CREATIVE LONDON • PROD. CO. ROGUE LONDON

UNITED KINGDOM

D03/013 STRUCK BY A RAINBOW • WRIGLEY CANADA • SKITTLES • ENT./AG. BBDO TORONTO • PROD. CO. THE CORNER STORE TORONTO

CANADA

D03/034 THE GENTLEMAN’S WAGER • JOHNNIE WALKER • BLUE LABEL • ENT./AG. RSA FILMS LOS ANGELES / ANOMALY NEW YORK • MED. AG. PHD NEW YORK • PROD. CO. RSA FILMS LOS ANGELES

USA

D03/038 THE RETURN OF LASSO • NBC SPORTS • BARCLAYS PREMIER LEAGUE • ENT./AG. THE BROOKLYN BROTHERS NEW YORK • MED. AG. MAXUS GLOBAL MINNEAPOLIS • PROD. CO. MOXIE PICTURES NEW YORK

USA

LONG FICTION FILM (OVER 10 MINUTES) D04/004 THE GUN • 20TH CENTURY FOX • DAWN OF THE PLANET OF THE APES • ENT./AG. PULSE FILMS LONDON • PROD. CO. PULSE FILMS LONDON

UNITED KINGDOM

D04/005 WHAT LIVES INSIDE • INTEL + DELL • DELL VENUE TABLET WITH INTEL INSIDE • ENT./AG. PEREIRA & O’DELL SAN FRANCISCO • MED. AG. MEDIACOM NEW YORK • PROD. CO. RSA FILMS LOS ANGELES / MPC SANTA MONICA / LAUNDRY! LOS ANGELES

USA

PUBLIC SCREENS & EVENTS E01/011 THE HERO KARAOKE • HEINEKEN • BEER • ENT./AG. PUBLICIS ITALY MILAN • MED. AG. STARCOM MEDIAVEST GROUP AMSTERDAM • PROD. CO. MJZ LONDON E01/020 THE WAVE • LAND ROVER USA • FIVE CAMERA SURROUND SYSTEM • ENT./AG. Y&R NEW YORK • PROD. CO. HELO LOS ANGELES / GO BIG PRODUCTIONS LOS ANGELES

ITALY USA

PRIVATE SCREENS & EVENTS E02/004 LIFEPROOF CARPET • THE HOME DEPOT • RETAILER • ENT./AG. 22SQUARED ATLANTA • PROD. CO. UPTHINK LAB ATLANTA E02/012 STORY OF A SPOON • GREENPEACE INTERNATIONAL • PLASTIC REDUCTION • ENT./AG. MEMAC OGILVY DUBAI • PROD. CO. OPTIX DUBAI DUBAI E02/024 UNION - A FAMILY AGENCY • UNION ADVERTISING CANADA LP • UNION ADVERTISING CANADA LP • ENT./AG. UNION TORONTO

USA UNITED ARAB EMIRATES CANADA

PERSONAL SCREENS E03/002 PUMPKIN • LOWE’S • LOWE’S • ENT./AG. BBDO NEW YORK • PROD. CO. HUMBLE NEW YORK

USA

E03/008 YETI • LOWE’S • LOWE’S • ENT./AG. BBDO NEW YORK • PROD. CO. HUMBLE NEW YORK

USA

E03/022 TINNYVISION • NZ TRANSPORT AGENCY • DRUG DRIVING • ENT./AG. CLEMENGER BBDO WELLINGTON WELLINGTON • MED. AG. OMD WELLINGTON • PROD. CO. CURIOUS FILM AUCKLAND E03/023 MYSTERIOUS STORIES • TOYOTA MOTOR SPAIN • TOYOTA SPAIN • ENT./AG. DEL CAMPO SAATCHI & SAATCHI MADRID MADRID • MED. AG. ZENITHOPTIMEDIA IBERIA MADRID • PROD. CO. AGOSTO BUENOS AIRES E03/025 THE OTHER SIDE • HONDA MOTOR EUROPE • CIVIC TYPE R • ENT./AG. WIEDEN+KENNEDY LONDON • MED. AG. STARCOM MEDIAVEST GROUP LONDON • PROD. CO. SOMESUCH LONDON / STINKDIGITAL LONDO

NEW ZEALAND SPAIN UNITED KINGDOM

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

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FRIDAY / JUNE 26 / 2015

FILM CRAFT DIRECTION A01/010 PROTOTYPE • CHANNEL 4 • BORN RISKY • ENT./AG. 4CREATIVE LONDON • PROD. CO. ROGUE LONDON

UNITED KINGDOM

A01/020 UNBREAKABLE DRIVERS • TOYOTA MOTOR CORPORATION AUSTRALIA • HILUX • ENT./AG. SAATCHI & SAATCHI SYDNEY • MED. AG. THE MEDIA STORE SYDNEY • PROD. CO. SCOUNDREL MOORE PARK

AUSTRALIA

A01/027 GOTH GIRL • HORNBACH • DIY HOME IMPROVEMENT SUPERSTORES • ENT./AG. HEIMAT BERLIN • PROD. CO. TRIGGER HAPPY PRODUCTIONS BERLIN

GERMANY

A01/048 #VIOLENCEISVIOLENCE • MANKIND • CHARITY • ENT./AG. DARE LONDON • PROD. CO. DARK ENERGY FILMS LONDON

UNITED KINGDOM

A01/051 THIS GIRL CAN • SPORT ENGLAND • SPORT ENGLAND • ENT./AG. SOMESUCH LONDON / FCB INFERNO LONDON • MED. AG. CARAT LONDON • PROD. CO. SOMESUCH LONDON

UNITED KINGDOM

A01/052 THE LAST GAME • NIKE FOOTBALL • FOOTBALL APPAREL • ENT./AG. PASSION PICTURES LONDON / WIEDEN+KENNEDY PORTLAND • PROD. CO. PASSION PICTURES LONDON

UNITED KINGDOM

A01/055 WIN CHRISTMAS • MULBERRY • MULBERRY • ENT./AG. RATTLING STICK LONDON / ADAM&EVEDDB LONDON • PROD. CO. RATTLING STICK LONDON

UNITED KINGDOM

A01/057 MONTY’S CHRISTMAS • JOHN LEWIS PARTNERSHIP • CHRISTMAS • ENT./AG. ADAM&EVEDDB LONDON • MED. AG. MANNING GOTTLIEB OMD LONDON • PROD. CO. BLINK PRODUCTIONS LONDON

UNITED KINGDOM

A01/074 FROM SCRIPT TO SCREEN • SONY • SONY • ENT./AG. ANONYMOUS CONTENT CULVER CITY / WIEDEN+KENNEDY PORTLAND • MED. AG. UM LOS ANGELES, CA • PROD. CO. SOMESUCH LONDON / ANONYMOUS CONTENT CULVER CITY

USA

A01/076 THE BOY WHO BEEPS • GE • GE • ENT./AG. BBDO NEW YORK • PROD. CO. PARK PICTURES NEW YORK

USA

A01/079 EMILY’S OZ • COMCAST • COMMERCIAL/PUBLIC SERVICE • ENT./AG. BISCUIT FILMWORKS LOS ANGELES / GOODBY SILVERSTEIN & PARTNERS NY NEW YORK • PROD. CO. BISCUIT FILMWORKS LOS ANGELES

USA

A01/093 1914 TRUCE • SAINSBURY’S • SAINSBURY’S • ENT./AG. AMV BBDO LONDON • MED. AG. PHD LONDON • PROD. CO. RATTLING STICK LONDON

UNITED KINGDOM

A01/102 T-SHIRTS • IKEA • RETAIL • ENT./AG. BLINK PRODUCTIONS LONDON / MOTHER LONDON • PROD. CO. BLINK PRODUCTIONS LONDON

UNITED KINGDOM

A01/104 100 • LEICA GALLERY SÃO PAULO • CELEBRATING 100 YEARS OF LEICA PHOTOGRAPHY • ENT./AG. STINK SAO PAULO / F/NAZCA SAATCHI & SAATCHI SÃO PAULO • PROD. CO. STINK SAO PAULO

BRAZIL

A01/105 UNSKIPPABLE: FAMILY LONG FORM • GEICO • INSURANCE • ENT./AG. THE MARTIN AGENCY RICHMOND • MED. AG. HORIZON MEDIA LOS ANGELES • PROD. CO. PARK PICTURES NEW YORK

USA

A01/106 HOTEL • UNILEVER • AXE • ENT./AG. BBH NEW YORK • MED. AG. MINDSHARE NEW YORK • PROD. CO. SMUGGLER NEW YORK

USA

A01/112 DADSONG • OLD SPICE • COMMERCIAL/TOILETRIES • ENT./AG. BISCUIT FILMWORKS LOS ANGELES / WIEDEN+KENNEDY PORTLAND • PROD. CO. BISCUIT FILMWORKS LOS ANGELES

USA

A01/139 THE WAVE • LAND ROVER USA • FIVE CAMERA SURROUND SYSTEM • ENT./AG. Y&R NEW YORK • PROD. CO. HELO LOS ANGELES / GO BIG PRODUCTIONS LOS ANGELES

USA

A01/159 SILVERHAND • CANAL DIGITAL • PAY PER VIEW, CANALDIGITAL.NO • ENT./AG. BACON OSL OSLO / TRY OSLO • PROD. CO. BACON OSL OSLO

NORWAY

A01/166 MURMURATION • SKY • SKY ON DEMAND • ENT./AG. THE SWEET SHOP AUCKLAND / DDB GROUP NEW ZEALAND AUCKLAND • PROD. CO. THE SWEET SHOP AUCKLAND

NEW ZEALAND

A01/170 BIRTH • AUDI UK • AUDI SPORT/RS 3 SPORTBACK • ENT./AG. BBH LONDON • MED. AG. MEDIACOM LONDON • PROD. CO. MILL+ LONDON / THE MILL LONDON / THE MILL LOS ANGELES

UNITED KINGDOM

A01/175 RIPPLE • NIKE • COMMERCIAL/CLOTHING & ACCESSORIES • ENT./AG. BISCUIT FILMWORKS LOS ANGELES / WIEDEN+KENNEDY PORTLAND • PROD. CO. BISCUIT FILMWORKS LOS ANGELES / REVOLVER/WILL O’ROURKE SYDNEY

USA

A01/176 FREESTYLE • ARLA FOODS • LURPAK SPREADABLE • ENT./AG. MJZ LONDON / WIEDEN+KENNEDY LONDON • MED. AG. CARAT LONDON • PROD. CO. MJZ LONDON

UNITED KINGDOM

A01/197 THE GENTLEMAN’S WAGER • JOHNNIE WALKER • ALCOHOL BEVERAGE • ENT./AG. RSA FILMS LOS ANGELES / ANOMALY NEW YORK • MED. AG. PHD NEW YORK • PROD. CO. RSA FILMS LOS ANGELES

USA

A01/203 THE OTHER SIDE • HONDA • HONDA CIVIC TYPE R • ENT./AG. SOMESUCH LONDON / WIEDEN+KENNEDY LONDON • PROD. CO. SOMESUCH LONDON / STINKDIGITAL LONDON

UNITED KINGDOM

A01/215 THE GUN • 20TH CENTURY FOX • DAWN OF THE PLANET OF THE APES • ENT./AG. PULSE FILMS LONDON • PROD. CO. PULSE FILMS LONDON

UNITED KINGDOM

A01/227 IF YOU’RE HAPPY • WEIGHT WATCHERS • WEIGHT LOSS • ENT./AG. EPOCH FILMS NEW YORK / WIEDEN+KENNEDY NEW YORK • PROD. CO. EPOCH FILMS NEW YORK / SUNEEVA TORONTO

USA

A01/231 THE WHITE RUSSIAN • KAHLÙA • KAHLÙA • ENT./AG. LUCKY GENERALS LONDON • MED. AG. VIZEUM NEW YORK • PROD. CO. STINK LONDON

UNITED KINGDOM

A01/237 MADE IN NY • GATORADE • GATORADE • ENT./AG. TBWA\CHIAT\DAY LOS ANGELES • MED. AG. OMD LOS ANGELES • PROD. CO. SMUGGLER LOS ANGELES, CA

USA

A01/248 SETTLE IT • WM WRIGLEY JR. CO • SKITTLES • ENT./AG. MJZ LOS ANGELES / DDB CHICAGO • PROD. CO. MJZ LOS ANGELES

USA

A01/277 WHAT LIVES INSIDE - EPISODE ONE • INTEL + DELL • DELL VENUE TABLET WITH INTEL INSIDE • ENT./AG. PEREIRA & O’DELL SAN FRANCISCO • MED. AG. MEDIACOM NY • PROD. CO. RSA FILMS LA / MPC SANTA MONICA / LAUNDRY! LOS ANGELES

USA

A01/278 WHAT LIVES INSIDE - EPISODE TWO • INTEL + DELL • DELL VENUE TABLET WITH INTEL INSIDE • ENT./AG. PEREIRA & O’DELL SAN FRANCISCO • MED. AG. MEDIACOM NY • PROD. CO. RSA FILMS LA / MPC SANTA MONICA / LAUNDRY! LOS ANGELES

USA

A01/279 WHAT LIVES INSIDE - EPISODE THREE • INTEL + DELL • DELL VENUE TABLET WITH INTEL INSIDE • ENT./AG. PEREIRA & O’DELL SAN FRANCISCO • MED. AG. MEDIACOM NY • PROD. CO. RSA FILMS LA / MPC SANTA MONICA / LAUNDRY! LOS ANGELES

USA

A01/280 WHAT LIVES INSIDE - EPISODE FOUR • INTEL + DELL • DELL VENUE TABLET WITH INTEL INSIDE • ENT./AG. PEREIRA & O’DELL SAN FRANCISCO • MED. AG. MEDIACOM NY• PROD. CO. RSA LA / MPC SANTA MONICA / LAUNDRY! LOS ANGELES

USA

A01/295 UNICORNS • CANAL+ • CANAL+ • ENT./AG. BETC PARIS • PROD. CO. SOIXANTE QUINZE PARIS

FRANCE

A01/296 DAD • WIND TELECOMUNICAZIONI • WIND • ENT./AG. MERCURIO CINEMATOGRAFICA MILAN / OGILVY & MATHER MILAN • PROD. CO. MERCURIO CINEMATOGRAFICA MILAN A01/339 THE GAME BEFORE THE GAME • BEATS BY DR. DRE • BEATS SOLO2 • ENT./AG. R/GA LONDON LONDON • PROD. CO. THE SWORD FIGHT LOS ANGELES / ROCK PAPER SCISSORS SANTA MONICA / BREWSTER PARSONS LOS ANGELES

ITALY UNITED KINGDOM

A01/403 CLEANED OUT • HERTZ • HERTZ • ENT./AG. SMUGGLER LOS ANGELES, CA / ADAM&EVEDDB LONDON • PROD. CO. SMUGGLER LONDON A01/408 NOT IN THE SHAPE THEY USED TO BE • HILL’S PET NUTRITION • PERFECT WEIGHT PET FOOD • ENT./AG. RED FUSE PRAGUE / Y&R PRAGUE • MED. AG. MEC GERMANY HAMBURG • PROD. CO. TOASTER PICTURES PRAGUE

USA CZECH REPUBLIC

SCRIPT A02/003 AIRPORT • NETFLIX • ENTERTAINMENT • ENT./AG. DDB CANADA VANCOUVER • MED. AG. MEC NEW YORK • PROD. CO. STEAM FILMS VANCOUVER / ANONYMOUS CONTENT NEW YORK

CANADA

A02/008 THE MONSTER-SMART LAUNCH • DAIMLER / SMART MM • SMART • ENT./AG. BBDO GROUP GERMANY BERLIN • PROD. CO. BIGFISH FILMPRODUKTION BERLIN A02/021 WIN CHRISTMAS • MULBERRY • MULBERRY • ENT./AG. ADAM&EVEDDB LONDON • MED. AG. MEC UK LONDON • PROD. CO. RATTLING STICK LONDON

GERMANY UNITED KINGDOM

A02/037 THE BOY WHO BEEPS • GE • GE • ENT./AG. BBDO NEW YORK • PROD. CO. PARK PICTURES NEW YORK

USA

A02/038 EMILY’S OZ • COMCAST • COMMERCIAL/PUBLIC SERVICE • ENT./AG. BISCUIT FILMWORKS LOS ANGELES / GOODBY SILVERSTEIN & PARTNERS NY NEW YORK • PROD. CO. BISCUIT FILMWORKS LOS ANGELES

USA

A02/039 WOMEN’S RIGHTS • ROCK THE VOTE • COMMERCIAL/PUBLIC AWARENESS • ENT./AG. BISCUIT FILMWORKS LOS ANGELES / GOODBY SILVERSTEIN & PARTNERS SAN FRANCISCO • PROD. CO. BISCUIT FILMWORKS LOS ANGELES

USA

A02/041 PRICE OF PROGRESS • PRINCE EDWARD COUNTY • PRINCE EDWARD COUNTY • ENT./AG. BBDO TORONTO • PROD. CO. SOMEPLACE NICE TORONTO

CANADA

A02/047 UNSKIPPABLE: FAMILY LONG FORM • GEICO • INSURANCE • ENT./AG. THE MARTIN AGENCY RICHMOND • MED. AG. HORIZON MEDIA LOS ANGELES • PROD. CO. PARK PICTURES NEW YORK A02/057 1914 TRUCE • SAINSBURY’S • SAINSBURY’S • ENT./AG. AMV BBDO LONDON • MED. AG. PHD LONDON • PROD. CO. RATTLING STICK LONDON

USA UNITED KINGDOM

A02/083 SUPER CREEPY • DIRECTV • DIRECTV • ENT./AG. MJZ LOS ANGELES / GREY NEW YORK • PROD. CO. MJZ LOS ANGELES

USA

A02/084 SCRAWNY ARMS • DIRECTV • DIRECTV • ENT./AG. MJZ LOS ANGELES / GREY NEW YORK • PROD. CO. MJZ LOS ANGELES

USA

A02/098 DADHOOD • GENERAL MILLS • PEANUT BUTTER CHEERIOS • ENT./AG. TRIBAL WORLDWIDE, A DIVISION OF DDB • PROD. CO. RADKE TORONTO A02/102 THE WHITE RUSSIAN • KAHLÙA • KAHLÙA • ENT./AG. LUCKY GENERALS LONDON • PROD. CO. STINK LONDON

CANADA UNITED KINGDOM

A02/103 MOTHER NATURE • CONSERVATION INTERNAT. • CONSERVATION INTERNAT. • ENT./AG. TBWA\MEDIA ARTS LAB LA/MAL FOR GOOD LA • MED. AG. GMMB WASHINGTON • PROD. CO. @RADICAL.MEDIA SANTA MONICA / BEACON STREET STUDIOS LA

USA

A02/104 THE OCEAN • CONSERVATION INTERNAT • CONSERVATION INTERNAT • ENT./AG. TBWA\MEDIA ARTS LA / MAL FOR GOOD LA • MED. AG. GMMB WASHINGTON • PROD. CO. @RADICAL.MEDIA SANTA MONICA / BEACON STREET STUDIOS LOS ANGELES

USA

A02/128 CLEANED OUT • HERTZ • VAN RENTAL • ENT./AG. ADAM&EVEDDB LONDON • MED. AG. FORWARD3D LONDON • PROD. CO. SMUGGLER LONDON A02/134 UNICORNS • CANAL+ • CANAL+ • ENT./AG. BETC PARIS • PROD. CO. SOIXANTE QUINZE PARIS A02/182 MY LAST DAY • AMNESTY INTERNATIONAL THE NETHERLANDS • DEATH PENALTY • ENT./AG. OGILVY & MATHER AMSTERDAM • MED. AG. OMD AMSTERDAM • PROD. CO. DPPLR AMSTERDAM A02/199 A MOTHER’S BODY • UNILEVER • DOVE • ENT./AG. OGILVY & MATHER LONDON • PROD. CO. TANTRUM LONDON A02/234 CUSTOM-MADE COMMERCIAL • MAN LATIN AMERICA • VOLKSWAGEN DELIVERY TRUCKS • ENT./AG. ALMAPBBDO SÃO PAULO • PROD. CO. LANDIA BUENOS AIRES

UNITED KINGDOM FRANCE THE NETHERLANDS UNITED KINGDOM BRAZIL

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

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LIONS DAILY NEWS

CASTING A03/006 MADE IN FRANCE • EDF • ENERGY • ENT./AG. HAVAS WORLDWIDE PARIS • MED. AG. HAVAS MEDIA PUTEAUX • PROD. CO. QUAD PRODUCTIONS CLICHY / 4 MECS EN BASKETS PARIS

FRANCE

A03/007 STEP OUT • EDF • ENERGY • ENT./AG. HAVAS WORLDWIDE PARIS • PROD. CO. QUAD PRODUCTIONS CLICHY / 4 MECS EN BASKETS PARIS A03/015 TOO INFORMATIVE • DU • TELECOMMUNICATIONS • ENT./AG. LEO BURNETT DUBAI • PROD. CO. DEJAVU DUBAI

FRANCE UNITED ARAB EMIRATES

A03/021 BRADY BUNCH • MARS CHOCOLATE NORTH AMERICA • SNICKERS • ENT./AG. BBDO NEW YORK • PROD. CO. O POSITIVE NEW YORK

USA

A03/026 #SORTA: RX • ESURANCE • INSURANCE • ENT./AG. LEO BURNETT CHICAGO • MED. AG. STARCOM MEDIAVEST GROUP CHICAGO • PROD. CO. ANONYMOUS CONTENT CULVER CITY

USA

A03/044 UNSKIPPABLE: FAMILY LONG FORM • GEICO • INSURANCE • ENT./AG. THE MARTIN AGENCY RICHMOND • MED. AG. HORIZON MEDIA LOS ANGELES • PROD. CO. PARK PICTURES NEW YORK

USA

A03/058 BOOTYLICIOUS • MONEY SUPERMARKET • MONEY SUPERMARKET • ENT./AG. SONNY LONDON / MOTHER LONDON • PROD. CO. SONNY LONDON

UNITED KINGDOM

A03/079 LEARN THE HARD WAY • THE PRINCE’S TRUST • CHARITY • ENT./AG. CHI & PARTNERS LONDON • PROD. CO. ACADEMY FILMS LONDON

UNITED KINGDOM

A03/096 DADHOOD • GENERAL MILLS • PEANUT BUTTER CHEERIOS • ENT./AG. TRIBAL WORLDWIDE, A DIVISION OF DDB • PROD. CO. RADKE TORONTO

CANADA

A03/106 WHAT LIVES INSIDE - EPISODE ONE • INTEL + DELL • DELL VENUE TABLET WITH INTEL INSIDE • ENT./AG. PEREIRA & O’DELL SAN FRANCISCO • MED. AG. MEDIACOM NY • PROD. CO. RSA FILMS LA / MPC SANTA MONICA / LAUNDRY! LOS ANGELES

USA

A03/107 WHAT LIVES INSIDE - EPISODE TWO • INTEL + DELL • DELL VENUE TABLET WITH INTEL INSIDE • ENT./AG. PEREIRA & O’DELL SAN FRANCISCO • MED. AG. MEDIACOM NY • PROD. CO. RSA FILMS LA / MPC SANTA MONICA / LAUNDRY! LOS ANGELES

USA

A03/108 WHAT LIVES INSIDE - EPISODE THREE • INTEL + DELL • DELL VENUE TABLET WITH INTEL INSIDE • ENT./AG. PEREIRA & O’DELL SAN FRANCISCO • MED. AG. MEDIACOM NY • PROD. CO. RSA FILMS LA / MPC SANTA MONICA / LAUNDRY! LOS ANGELES

USA

A03/109 WHAT LIVES INSIDE - EPISODE FOUR • INTEL + DELL • DELL VENUE TABLET WITH INTEL INSIDE • ENT./AG. PEREIRA & O’DELL SAN FRANCISCO • MED. AG. MEDIACOM NY • PROD. CO. RSA FILMS LA / MPC SANTA MONICA / LAUNDRY! LOS ANGELES

USA

A03/164 DREAMING OF YAMS • FOODSTUFFS NZ • NEW WORLD • ENT./AG. FINCH SYDNEY / COLENSO BBDO AUCKLAND • PROD. CO. FINCH SYDNEY

AUSTRALIA

A03/185 POO FACE • PROCTER & GAMBLE • WIPES • ENT./AG. SAATCHI & SAATCHI LONDON • MED. AG. STARCOM MEDIAVEST GROUP LONDON • PROD. CO. GREAT GUNS LONDON

UNITED KINGDOM

A03/196 NOT IN THE SHAPE THEY USED TO BE • HILL’S PET NUTRITION • PERFECT WEIGHT PET FOOD • ENT./AG. RED FUSE PRAGUE / Y&R PRAGUE • MED. AG. MEC GERMANY HAMBURG • PROD. CO. TOASTER PICTURES PRAGUE

CZECH REPUBLIC

PRODUCTION DESIGN/ART DIRECTION A04/001 WELCOME TO AIRBNB • AIRBNB • AIRBNB • ENT./AG. CIRKUS AUCKLAND / TBWA\SINGAPORE • MED. AG. PHD SINGAPORE • PROD. CO. CIRKUS AUCKLAND

NEW ZEALAND

A04/005 PROTOTYPE • CHANNEL 4 • BORN RISKY • ENT./AG. 4CREATIVE LONDON • PROD. CO. ROGUE LONDON

UNITED KINGDOM

A04/025 LIFE MOVES FORWARD • BNP PARIBAS FORTIS • EASY BANKING • ENT./AG. CZAR BRUSSELS / PUBLICIS BRUSSELS • PROD. CO. CZAR BRUSSELS

BELGIUM

A04/031 TOO DISTRESSING • DU • TELECOMMUNICATIONS • ENT./AG. LEO BURNETT DUBAI • PROD. CO. DEJAVU DUBAI

UNITED ARAB EMIRATES

A04/032 TOO INFORMATIVE • DU • TELECOMMUNICATIONS • ENT./AG. LEO BURNETT DUBAI • PROD. CO. DEJAVU DUBAI

UNITED ARAB EMIRATES

A04/043 THE CITY • HEINEKEN • HEINEKEN • ENT./AG. TRAKTOR LOS ANGELES / WIEDEN+KENNEDY AMSTERDAM • PROD. CO. TRAKTOR LOS ANGELES

USA

A04/045 EMILY’S OZ • COMCAST/XFINITY • COMCAST/XFINITY • ENT./AG. GOODBY SILVERSTEIN & PARTNERS NY NEW YORK • MED. AG. MEDIAVEST NEW YORK • PROD. CO. BISCUIT FILMWORKS LA / ROCK PAPER SCISSORS NY / A52 SANTA MONICA

USA

A04/049 1914 TRUCE • SAINSBURY’S • SAINSBURY’S • ENT./AG. AMV BBDO LONDON • MED. AG. PHD LONDON • PROD. CO. RATTLING STICK LONDON A04/062 100 • LEICA GALLERY SÃO PAULO • CELEBRATING 100 YEARS OF LEICA PHOTOGRAPHY • ENT./AG. STINK SAO PAULO / F/NAZCA SAATCHI & SAATCHI SÃO PAULO • PROD. CO. STINK SAO PAULO A04/065 HOTEL • UNILEVER • AXE • ENT./AG. BBH NEW YORK • MED. AG. MINDSHARE NEW YORK • PROD. CO. SMUGGLER NEW YORK A04/098 BIRTH • AUDI UK • AUDI SPORT/RS 3 SPORTBACK • ENT./AG. BBH LONDON • MED. AG. MEDIACOM LONDON • PROD. CO. MILL+ LONDON / THE MILL LONDON / THE MILL LOS ANGELES A04/105 37 DAYS • ATLANTIC GROUP • HEATERS • ENT./AG. LEO BURNETT FRANCE PARIS • PROD. CO. QUAD PRODUCTIONS CLICHY / LA CAVALERIE MONTREAL A04/111 AHEAD OF THEIR TIME • DODGE • COMMERCIAL/AUTOMOBILE • ENT./AG. BISCUIT FILMWORKS LOS ANGELES / WIEDEN+KENNEDY PORTLAND • PROD. CO. BISCUIT FILMWORKS LOS ANGELES A04/112 FILM4 IDENTS • CHANNEL 4 • FILM4 IDENTS • ENT./AG. 4CREATIVE LONDON • PROD. CO. MANVSMACHINE LONDON A04/150 MECHANICS • AUDI • AUDI SERVICE • ENT./AG. THJNK HAMBURG / THJNK BERLIN • PROD. CO. ANORAK RADICAL MEDIA BERLIN A04/159 SHAPE YOUR TIME • CARTIER • WATCHMAKING • ENT./AG. PUBLICIS 133 PARIS • MED. AG. ZENITHOPTIMEDIA PARIS • PROD. CO. QUAD PRODUCTIONS CLICHY

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

CINEMATOGRAPHY A05/001 EVERY DAY IS DAY ONE • SAMSUNG • ASP SURF SPONSORSHIP, SAMSUNG GS5 • ENT./AG. EXIT FILMS MELBOURNE / 72ANDSUNNY AMSTERDAM • PROD. CO. EXIT FILMS MELBOURNE / SMUGGLER LONDON

AUSTRALIA

A05/031 INTO THE WORLD • LAND ROVER GLOBAL • LAND ROVER VEHICLES • ENT./AG. RKCR/Y&R LONDON • MED. AG. MINDSHARE LONDON • PROD. CO. BLINK PRODUCTIONS LONDON

UNITED KINGDOM

A05/043 1914 TRUCE • SAINSBURY’S • SAINSBURY’S • ENT./AG. AMV BBDO LONDON • MED. AG. PHD LONDON • PROD. CO. RATTLING STICK LONDON

UNITED KINGDOM

A05/048 100 • LEICA GALLERY SÃO PAULO • CELEBRATING 100 YEARS OF LEICA PHOTOGRAPHY • ENT./AG. STINK SAO PAULO / F/NAZCA SAATCHI & SAATCHI SÃO PAULO • PROD. CO. STINK SAO PAULO

BRAZIL

A05/056 DRIVE • GAP • GAP • ENT./AG. RESET SANTA MONICA / WIEDEN+KENNEDY NEW YORK • PROD. CO. RESET SANTA MONICA

USA

A05/057 LEBRON JAMES TOGETHER • NIKE • FOOTWEAR, CLOTHING AND ACCESSORIES • ENT./AG. WIEDEN+KENNEDY PORTLAND • PROD. CO. HSI PRODUCTIONS LOS ANGELES

USA

A05/061 WINTER’S TALE • VOLVO CAR SWEDEN • VOLVO V70, XC70 AND XC60 • ENT./AG. FORSMAN & BODENFORS GOTHENBURG • MED. AG. MINDSHARE STOCKHOLM • PROD. CO. NEW LAND STOCKHOLM / STOPP/FAMILY STOCKHOLM

SWEDEN

A05/092 BIRTH • AUDI UK • AUDI SPORT/RS 3 SPORTBACK • ENT./AG. BBH LONDON • MED. AG. MEDIACOM LONDON • PROD. CO. MILL+ LONDON / THE MILL LONDON / THE MILL LOS ANGELES

UNITED KINGDOM

A05/101 FREESTYLE • ARLA FOODS • LURPAK • ENT./AG. MJZ LONDON / WIEDEN+KENNEDY LONDON • MED. AG. CARAT LONDON • PROD. CO. MJZ LONDON

UNITED KINGDOM

A05/104 BEDS • IKEA • BEDROOM HOME FURNISHINGS / RETAIL • ENT./AG. MJZ LONDON / MOTHER LONDON • PROD. CO. MJZ LONDON / STILLKING FILMS CAPE TOWN

UNITED KINGDOM

A05/112 AFTERGLOW - A PHILIPS AMBILIGHT EXPERIENCE • PHILIPS TV (TP VISION) • TV • ENT./AG. AHLSTRAND & WÅLLGREN STOCKHOLM • PROD. CO. SWEETGRASS PRODUCTIONS SALT LAKE CITY A05/125 THE WHITE RUSSIAN • KAHLÙA • KAHLÙA • ENT./AG. LUCKY GENERALS LONDON • MED. AG. VIZEUM NEW YORK • PROD. CO. STINK LONDON A05/154 37 DAYS • ATLANTIC GROUP • HEATERS • ENT./AG. LEO BURNETT FRANCE PARIS • PROD. CO. QUAD PRODUCTIONS CLICHY / LA CAVALERIE MONTREAL A05/156 MECHANICS • AUDI • AUDI SERVICE • ENT./AG. THJNK HAMBURG / THJNK BERLIN • PROD. CO. ANORAK RADICAL MEDIA BERLIN A05/161 ORIGINAL SUPERSTAR • ADIDAS ORIGINALS • SNEAKERS • ENT./AG. JOHANNES LEONARDO NEW YORK • MED. AG. CARAT LONDON • PROD. CO. CAVIAR LOS ANGELES A05/186 THE GAME BEFORE THE GAME • BEATS BY DR. DRE • BEATS SOLO2 • ENT./AG. R/GA LONDON LONDON • PROD. CO. THE SWORD FIGHT LOS ANGELES / ROCK PAPER SCISSORS SANTA MONICA / BREWSTER PARSONS LOS ANGELES A05/189 SHAPE YOUR TIME • CARTIER • WATCHES • ENT./AG. QUAD PRODUCTIONS CLICHY / PUBLICIS 133 PARIS • PROD. CO. QUAD PRODUCTIONS CLICHY

SWEDEN UNITED KINGDOM FRANCE GERMANY USA UNITED KINGDOM FRANCE

EDITING A06/016 THIS GIRL CAN • SPORT ENGLAND • SPORT ENGLAND • ENT./AG. FCB INFERNO LONDON • MED. AG. CARAT LONDON • PROD. CO. SOMESUCH LONDON

UNITED KINGDOM

A06/029 MADE OF BLACK • DIAGEO • GUINNESS • ENT./AG. AMV BBDO LONDON / BBDO SOUTH AFRICA JOHANNESBURG • MED. AG. CARAT SOUTH AFRICA CAPE TOWN • PROD. CO. ROGUE LONDON

UNITED KINGDOM

A06/035 100 • LEICA GALLERY SÃO PAULO • CELEBRATING 100 YEARS OF LEICA PHOTOGRAPHY • ENT./AG. STINK SAO PAULO / F/NAZCA SAATCHI & SAATCHI SÃO PAULO • PROD. CO. STINK SAO PAULO A06/063 CONVERSE: MADE BY YOU • CONVERSE • FASHION/APPAREL • ENT./AG. ANOMALY NEW YORK • PROD. CO. ICONOCLAST LOS ANGELES A06/076 FREESTYLE • ARLA FOODS • LURPAK SPREADABLE • ENT./AG. MJZ LONDON / WIEDEN+KENNEDY LONDON • MED. AG. CARAT LONDON • PROD. CO. MJZ LONDON A06/083 THE PEOPLE’S FILM, 60 YEARS TOGETHER • VOLKSWAGEN • VOLKSWAGEN • ENT./AG. FINCH SYDNEY / COLENSO BBDO AUCKLAND • PROD. CO. FINCH SYDNEY A06/103 37 DAYS • ATLANTIC GROUP • HEATERS • ENT./AG. LEO BURNETT FRANCE PARIS • PROD. CO. QUAD PRODUCTIONS CLICHY / LA CAVALERIE MONTREAL A06/129 CUSTOM-MADE COMMERCIAL • MAN LATIN AMERICA • VOLKSWAGEN DELIVERY TRUCKS • ENT./AG. ALMAPBBDO SÃO PAULO • PROD. CO. LANDIA BUENOS AIRES A06/142 POO FACE • PROCTER & GAMBLE • WIPES • ENT./AG. SAATCHI & SAATCHI LONDON • PROD. CO. GREAT GUNS LONDON

BRAZIL USA UNITED KINGDOM AUSTRALIA FRANCE BRAZIL UNITED KINGDOM

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

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FILM CRAFT SHORTLIST 41

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USE OF ORIGINAL MUSIC A07/023 BEAUTY GREW ALL AROUND • REGENCY BEAUTY INSTITUTE • BEAUTY INSTITUTE • ENT./AG. COLLE + MCVOY MINNEAPOLIS, MN A07/040 HOTEL • AXE • AXE WHITE LABEL • ENT./AG. WOODWORK MUSIC SALFORD / BBH NEW YORK • PROD. CO. SMUGGLER NEW YORK A07/041 100 • LEICA GALLERY SÃO PAULO • CELEBRATING 100 YEARS OF LEICA PHOTOGRAPHY • ENT./AG. STINK SAO PAULO / F/NAZCA SAATCHI & SAATCHI SÃO PAULO • PROD. CO. STINK SAO PAULO A07/048 DADSONG • OLD SPICE • BODY SPRAY • ENT./AG. WALKER PORTLAND / WIEDEN+KENNEDY PORTLAND • PROD. CO. BISCUIT FILMWORKS LOS ANGELES A07/054 I SKIP LEG DAY • MERCEDES-BENZ CARS VERTRIEB DEUTSCHLAND • SMART EBIKE • ENT./AG. BBDO GROUP GERMANY BERLIN • MED. AG. FUEL@VIVAKI DUSSELDORF • PROD. CO. BIGFISH FILMPRODUKTION BERLIN A07/064 37 DAYS • ATLANTIC GROUP • HEATERS • ENT./AG. LEO BURNETT FRANCE PARIS • PROD. CO. QUAD PRODUCTIONS CLICHY A07/068 THE BOY RAISED BY GOATS • PROCTER & GAMBLE • PEPTO-BISMOL • ENT./AG. PUBLICIS KAPLAN THALER NEW YORK • PROD. CO. THE SWEET SHOP WEST HOLLYWOOD / SYNDICATE STOCKHOLM A07/076 FREESTYLE • LURPAK • SPREADABLE • ENT./AG. WIEDEN+KENNEDY LONDON • MED. AG. CARAT LONDON • PROD. CO. MJZ LONDON / MPC LONDON A07/081 WELCOME BACK • ENERGIZER • SCHICK HYDRO GROOMER • ENT./AG. J. WALTER THOMPSON NEW YORK • PROD. CO. PARTIZAN ENTERTAINMENT LOS ANGELES A07/096 POPOV, THE CLOWN • MCDONALD´S GERMANY • MCDONALD´S GERMANY • ENT./AG. THJNK HAMBURG / LEO BURNETT FRANKFURT • PROD. CO. TEMPOMEDIA HAMBURG A07/102 SHAPE YOUR TIME • CARTIER • WATCHMAKING • ENT./AG. PUBLICIS 133 PARIS • MED. AG. ZENITHOPTIMEDIA PARIS • PROD. CO. QUAD PRODUCTIONS CLICHY A07/103 AMERICA START YOUR ENGINES • NBC SPORTS • NASCAR • ENT./AG. HUNGRY MAN NEW YORK • PROD. CO. HUNGRY MAN NEW YORK / TRIPLE DOUBLE SANTA MONICA, CA

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

USE OF LICENSED/ADAPTED MUSIC A08/006 EVERY DAY IS DAY ONE • SAMSUNG • ASP SURF SPONSORSHIP, SAMSUNG GS5 • ENT./AG. 72ANDSUNNY AMSTERDAM • PROD. CO. SMUGGLER LONDON / EXIT FILMS MELBOURNE

THE NETHERLANDS

A08/013 THIS GIRL CAN • SPORT ENGLAND • SPORT ENGLAND • ENT./AG. SOUNDTREE MUSIC LONDON / FCB INFERNO LONDON • MED. AG. CARAT LONDON • PROD. CO. SOMESUCH LONDON

UNITED KINGDOM

A08/014 THE CITY • HEINEKEN • HEINEKEN • ENT./AG. 750MPH LONDON / WIEDEN+KENNEDY AMSTERDAM • PROD. CO. TRAKTOR LOS ANGELES

UNITED KINGDOM

A08/027 WITH DAD • NISSAN • BRAND • ENT./AG. TBWA\CHIAT\DAY LOS ANGELES • MED. AG. OMD LOS ANGELES • PROD. CO. PARK PICTURES SANTA MONICA A08/033 IF YOU’RE HAPPY • WEIGHT WATCHERS • WEIGHT LOSS • ENT./AG. WIEDEN+KENNEDY PORTLAND • PROD. CO. EPOCH FILMS LOS ANGELES, CA A08/034 LIGHTS • ADOT.COM • NPO • ENT./AG. OGILVY & MATHER JAPAN TOKYO • PROD. CO. ASD LIONHEART LONDON A08/048 MADE OF BLACK • DIAGEO • GUINNESS • ENT./AG. AMV BBDO LONDON / BBDO SOUTH AFRICA JOHANNESBURG • MED. AG. CARAT SOUTH AFRICA CAPE TOWN • PROD. CO. ROGUE LONDON

USA USA JAPAN UNITED KINGDOM

A08/049 1914 TRUCE • SAINSBURY’S • SAINSBURY’S • ENT./AG. AMV BBDO LONDON • MED. AG. PHD LONDON • PROD. CO. RATTLING STICK LONDON

UNITED KINGDOM

A08/067 THE WHITE RUSSIAN • PERNOD RICARD • KAHLUA • ENT./AG. WAVE STUDIOS LONDON / LUCKY GENERALS LONDON • PROD. CO. STINK LONDON

UNITED KINGDOM

A08/070 OUR SONG • UNITEDHEALTHCARE • VIRTUAL DOCTOR VISITS • ENT./AG. LEO BURNETT CHICAGO • PROD. CO. FURLINED SANTA MONICA A08/075 PIANO • DIAGEO • BUCHANAN´S • ENT./AG. PAPAMUSIC BUENOS AIRES / SANTO BUENOS AIRES • PROD. CO. REBOLUCION BUENOS AIRES A08/077 THE SONG • APPLE • APPLE • ENT./AG. TBWA\MEDIA ARTS LAB LOS ANGELES / APPLE CUPERTINO • MED. AG. OMD WORLDWIDE NEW YORK • PROD. CO. PARK PICTURES SANTA MONICA A08/109 INFREQUENT FLYERS CLUB • TIGERAIR • INFREQUENT FLYERS CLUB • ENT./AG. MCCANN MELBOURNE • PROD. CO. AIRBAG MELBOURNE A08/117 THE GAME BEFORE THE GAME • BEATS BY DR. DRE • BEATS SOLO2 • ENT./AG. R/GA LONDON LONDON • PROD. CO. THE SWORD FIGHT LOS ANGELES / ROCK PAPER SCISSORS SANTA MONICA / BREWSTER PARSONS LOS ANGELES A08/121 EVERYONE IS GAY • MIX BRAZIL CULTURAL AND DIVERSITY ASSOCIATION • 22º MIX BRASIL FESTIVAL OF CULTURE AND DIVERSITY • ENT./AG. NEOGAMA BBH SÃO PAULO • PROD. CO. HUNGRY MAN SÃO PAULO A08/128 I’M A DRIFTER, AGAIN • SPOTIFY • STREAMING MUSIC SERVICE • ENT./AG. OGILVY NEW YORK • MED. AG. VAYNERMEDIA NEW YORK • PROD. CO. CAVIAR LOS ANGELES A08/129 VACUUM LOVE • VORWERK INTERNATIONAL STRECKER & CO. • VORWERK KOBOLD VR200 • ENT./AG. SAATCHI & SAATCHI DÜSSELDORF • PROD. CO. SMUGGLER LONDON / ELECTRIC THEATRE COLLECTIVE LONDON A08/140 POO FACE • PROCTER & GAMBLE • WIPES • ENT./AG. SAATCHI & SAATCHI LONDON • PROD. CO. GREAT GUNS LONDON

USA ARGENTINA USA AUSTRALIA UNITED KINGDOM BRAZIL USA GERMANY UNITED KINGDOM

SOUND DESIGN A09/011 THE ROAD TO TWICKENHAM • BMW • BMW - SPONSORSHIP OF ENGLAND RUGBY • ENT./AG. FCB INFERNO LONDON • MED. AG. VIZEUM LONDON • PROD. CO. STINK LONDON

UNITED KINGDOM

A09/012 THIS GIRL CAN • SPORT ENGLAND • SPORT ENGLAND • ENT./AG. WAVE STUDIOS LONDON / FCB INFERNO LONDON • MED. AG. CARAT LONDON • PROD. CO. SOMESUCH LONDON

UNITED KINGDOM

A09/013 NORMAL DAY • ARMY • ARMY • ENT./AG. 750MPH LONDON / ENGINE LONDON • PROD. CO. ACADEMY FILMS LONDON

UNITED KINGDOM

A09/082 THE BATTLE • CANALSAT • CANALSAT • ENT./AG. KOUZ PRODUCTION PARIS / BETC PARIS • PROD. CO. RODS FILMS PARIS A09/099 LISTEN • NATIONAL FOOTBALL LEAGUE • PUBLIC SERVICE ANNOUCEMENT • ENT./AG. GREY NEW YORK • PROD. CO. CHELSEA PICTURES NEW YORK A09/110 THE OTHER SIDE • HONDA • HONDA CIVIC TYPE R • ENT./AG. FACTORY LONDON / WIEDEN+KENNEDY LONDON • PROD. CO. SOMESUCH LONDON A09/113 LEBRON JAMES TOGETHER • NIKE • NIKE • ENT./AG. BARKING OWL LOS ANGELES / WIEDEN+KENNEDY PORTLAND • PROD. CO. HSI PRODUCTIONS LOS ANGELES

FRANCE USA UNITED KINGDOM USA

ANIMATION A10/012 THE LAST GAME • NIKE FOOTBALL • FOOTBALL APPAREL • ENT./AG. PASSION PICTURES LONDON / WIEDEN+KENNEDY PORTLAND • PROD. CO. PASSION PICTURES LONDON

UNITED KINGDOM

A10/013 THE LAST ROAD TRIP • AB INBEV • STELLA ARTOIS • ENT./AG. MOTHER LONDON • PROD. CO. PART OF A BIGGER PLAN AMSTERDAM

UNITED KINGDOM

A10/041 BIRTH • AUDI • AUDI RS3 • ENT./AG. MILL+ LONDON / BBH LONDON • MED. AG. MEDIACOM LONDON • PROD. CO. MILL+ LONDON / THE MILL LONDON / THE MILL LOS ANGELES

UNITED KINGDOM

A10/044 MAYA • SSE • SSE • ENT./AG. THE MILL LONDON / ADAM&EVEDDB LONDON • PROD. CO. ACADEMY FILMS LONDON

UNITED KINGDOM

A10/089 THE LEFT BEHINDS • FREEVIEW • FREEVIEW • ENT./AG. LEO BURNETT LONDON • PROD. CO. ROGUE LONDON

UNITED KINGDOM

A10/104 VACUUM LOVE • VORWERK INTERNATIONAL STRECKER & CO. • VORWERK KOBOLD VR200 • ENT./AG. SAATCHI & SAATCHI DÜSSELDORF • PROD. CO. SMUGGLER LONDON / ELECTRIC THEATRE COLLECTIVE LONDON A10/108 WAR ON DRUGO • INSTITUTO IGARAPÉ • GLOBAL COMISSION ON DRUG POLICY • ENT./AG. ALMAPBBDO SÃO PAULO A10/113 ASSASSIN’S CREED UNITY • UBISOFT • VIDEO GAME • ENT./AG. SID LEE PARIS • PROD. CO. ICONOCLAST PARIS A10/117 BREAKDANCE • JOHNSON & JOHNSON • JOHNSON’S BABY, INSECT REPELLENT • ENT./AG. DDB BRASIL SÃO PAULO • PROD. CO. VETOR ZERO SÃO PAULO

GERMANY BRAZIL FRANCE BRAZIL

VISUAL EFFECTS A11/007 T-SHIRTS • IKEA • RETAIL • ENT./AG. MPC LONDON / MOTHER LONDON • PROD. CO. BLINK PRODUCTIONS LONDON

UNITED KINGDOM

A11/008 MONTY’S CHRISTMAS • JOHN LEWIS • CHRISTMAS • ENT./AG. MPC LONDON / ADAM&EVEDDB LONDON • PROD. CO. BLINK PRODUCTIONS LONDON

UNITED KINGDOM

A11/030 BIRTH • AUDI • AUDI RS3 • ENT./AG. MILL+ LONDON / BBH LONDON • PROD. CO. MILL+ LONDON

UNITED KINGDOM

A11/032 MAYA • SSE • SSE • ENT./AG. THE MILL LONDON / ADAM&EVEDDB LONDON • PROD. CO. ACADEMY FILMS LONDON

UNITED KINGDOM

A11/052 ALL-POWERLESS • MOPHIE • MOPHIE • ENT./AG. DEUTSCH LA • PROD. CO. BISCUIT FILMWORKS LOS ANGELES A11/065 WAR • THE HUMAN RIGHTS FOUNDATION • INSTITUTIONAL • ENT./AG. GREY BRAZIL SÃO PAULO • PROD. CO. PILOTO TV SÃO PAULO A11/068 SHAPE YOUR TIME • CARTIER • WATCHES • ENT./AG. QUAD PRODUCTIONS CLICHY / PUBLICIS 133 PARIS • PROD. CO. QUAD PRODUCTIONS CLICHY

USA BRAZIL FRANCE

ACHIEVEMENT IN PRODUCTION A12/007 BEDS • IKEA • BEDROOM HOME FURNISHINGS / RETAIL • ENT./AG. MOTHER LONDON • MED. AG. VIZEUM LONDON • PROD. CO. MJZ LONDON A12/035 3-SECOND COOKING “SHRIMP FRYING CANNON” • NTT DOCOMO • EXPANDED LTE NETWORK • ENT./AG. AOI PRO. TOKYO / TOKYU AGENCY TOKYO / NTT ADVERTISING TOKYO • PROD. CO. AOI PRO. TOKYO A12/036 3-SECOND COOKING “SUPER FRIED DUMPLING” • NTT DOCOMO • LTE ADVANCED (PREMIUM 4G) • ENT./AG. AOI PRO. TOKYO / TOKYU AGENCY TOKYO / NTT ADVERTISING TOKYO • PROD. CO. AOI PRO. TOKYO A12/061 37 DAYS • ATLANTIC GROUP • HEATERS • ENT./AG. LEO BURNETT FRANCE PARIS • PROD. CO. QUAD PRODUCTIONS CLICHY / LA CAVALERIE MONTREAL A12/080 SAMSUNG HOLIDAY DREAMS • SAMSUNG TELECOMMUNICATIONS AMERICA • SAMSUNG • ENT./AG. R/GA NEW YORK • PROD. CO. 1STAVEMACHINE NEW YORK A12/084 TRUE LOVE • 3 MOBILE • MOBILE SERVICE PROVIDER • ENT./AG. INGO STOCKHOLM • PROD. CO. STINK LONDON / ICON FILM BUCHAREST A12/099 A MESSAGE TO SPACE • HYUNDAI MOTOR COMPANY • BRAND CAMPAIGN • ENT./AG. INNOCEAN WORLDWIDE SEOUL • PROD. CO. PLANIT SEOUL / ADDICT MEDIA FILMS SEOUL / DUOFILMS LOS ANGELES

UNITED KINGDOM JAPAN JAPAN FRANCE USA SWEDEN SOUTH KOREA

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

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SHORTLIST 42

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TITANIUM & INTEGRATED TITANIUM AND INTEGRATED GERMANY A01/013 THE MONSTER-SMART LAUNCH • DAIMLER AG / SMART MM • SMART • ENT./AG. BBDO GROUP GERMANY BERLIN • PROD. CO. BIGFISH FILMPRODUKTION BERLIN A01/016 LOOK AT ME • SAMSUNG ELECTRONICS • SAMSUNG ELECTRONICS • ENT./AG. CHEIL WORLDWIDE SEOUL • PROD. CO. BREAKFAST FILM SEOUL SOUTH KOREA A01/020 MONTY’S CHRISTMAS • JOHN LEWIS PARTNERSHIP • CHRISTMAS • ENT./AG. ADAM&EVEDDB LONDON • MED. AG. MANNING GOTTLIEB OMD LONDON • PROD. CO. BLINK PRODUCTIONS LONDON UNITED KINGDOM AUSTRALIA A01/026 CLEVER BUOY • OPTUS • OPTUS NETWORKING • ENT./AG. M&C SAATCHI SYDNEY • MED. AG. STARCOM MEDIAVEST GROUP SYDNEY A01/045 THE OTHER SIDE • HONDA MOTOR EUROPE • CIVIC TYPE R • ENT./AG. WIEDEN+KENNEDY LONDON • MED. AG. STARCOM MEDIAVEST GROUP LONDON • PROD. CO. SOMESUCH LONDON / STINKDIGITAL LONDON UNITED KINGDOM A01/059 THE BERLIN WALL OF SOUND • SOUNDCLOUD • SOUNDCLOUD • ENT./AG. GREY GERMANY DÜSSELDORF / GREY GERMANY BERLIN GERMANY A01/086 CONVERSE: MADE BY YOU • CONVERSE • FASHION/APPAREL • ENT./AG. ANOMALY NEW YORK USA A01/090 NEWCASTLE BAND OF BRANDS • HEINKEN USA • NEWCASTLE BROWN ALE • ENT./AG. DROGA5 NEW YORK • MED. AG. MEDIAVEST NEW YORK • PROD. CO. CAVIAR LOS ANGELES USA TURKEY A01/093 HEARING HANDS • SAMSUNG ELECTRONICS TURKEY • TITANIUM • ENT./AG. LEO BURNETT ISTANBUL • MED. AG. STARCOM ISTANBUL • PROD. CO. DINAMO ISTANBUL / CASTA DIVA GROUP A01/096 RED SOX: GREEN MONSTER • BENJAMIN MOORE • PAINT • ENT./AG. THE MARTIN AGENCY RICHMOND • PROD. CO. ELEMENT BOSTON USA A01/100 I WILL WHAT I WANT • UNDER ARMOUR • WOMEN’S APPAREL • ENT./AG. DROGA5 NEW YORK • MED. AG. OPTIMUM SPORTS NEW YORK • PROD. CO. RESET SANTA MONICA USA CANADA A01/119 GROCERIES NOT GUNS • MOMS DEMAND ACTION FOR GUN SENSE IN AMERICA • PUBLIC AWARENESS - GUN CONTROL • ENT./AG. GREY CANADA TORONTO A01/132 RADIANT RETURN • PZ CUSSONS • RADIANT • ENT./AG. DDB GROUP MELBOURNE • PROD. CO. EXIT FILMS MELBOURNE AUSTRALIA USA A01/142 HORSE WITH HARDEN • FOOT LOCKER • FOOT LOCKER • ENT./AG. BBDO NEW YORK • PROD. CO. THE KITCHEN @ BBDO NEW YORK USA A01/148 LOVE HAS NO LABELS • ADCOUNCIL • LOVE HAS NO LABELS • ENT./AG. R/GA NEW YORK • PROD. CO. PERSUADE & INFLUENCE LOS ANGELES / BREWSTER PARSONS LOS ANGELES TURKEY A01/156 VODAFONE «BETWEEN US» • VODAFONE • VODAFONE RED LIGHT APPLICATION • ENT./AG. Y&R TEAM RED ISTANBUL • MED. AG. MINDSHARE ISTANBUL • PROD. CO. RANDOM WORKS ISTANBUL A01/160 SOCIAL SAVVY BURGLAR • ALLSTATE INSURANCE COMPANY • HOME INSURANCE • ENT./AG. LEO BURNETT CHICAGO • MED. AG. BRAND NETWORKS NEW YORK • PROD. CO. HELO LOS ANGELES USA A01/176 NAZIS AGAINST NAZIS – GERMANY’S MOST INVOLUNTARY CHARITY WALK•ZDK GESELLSCHAFT DEMOKRAT. KULTUR•EXIT-DEUTSCHLAND•ENT./AG. GGH LOWE/GRABARZ & PART. HAMBURG•PROD. CO. 27 KM ENTERTAIN./HARVEST DIGIT. AGRI. HAMBURG GERMANY A01/180 HOUSE OF MAMBA • NIKE • NIKE BASKETBALL CHINA • ENT./AG. 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A17/189 #LIKEAGIRL • PROCTER & GAMBLE • ALWAYS • ENT./CONT. CO. LEO BURNETT TORONTO / LEO BURNETT CHICAGO / LEO BURNETT LONDON / HOLLER LONDON • MED. AG. STARCOM MEDIAVEST TORONTO • PROD. CO. CHELSEA PICTURES LOS ANGELES CANADA A17/193 THE SOFTTEST • UNILEVER • COMFORT PURE • ENT./CONT. CO. OGILVY & MATHER SINGAPORE • PROD. CO. HURRAH PRODUCTIONS SINGAPORE

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46

FOCUS ON HUNGARY

FRIDAY / JUNE 26 / 2015

LIONS DAILY NEWS

AT THE HEART OF EUROPE, HUNGARY IS WELL PLACED FOR FILMMAKERS FROM ACROSS THE CONTINENT. BUT AS DEBBIE LINCOLN DISCOVERS, THIS GEOGRAPHICAL BLESSING AND ITS OTHER ATTRACTIONS TEMPT PRODUCERS FROM AROUND THE WORLD

WELCOME TO HUNGARY L

OOK to the west of Hungary

and you see Austria, Switzerland and Germany, a gateway to western Europe; look north and you see Slovakia, the Czech Republic, the burgeoning economy of Poland and beyond that Scandinavia; looking south and east you see the Mediterranean territories and short connections to the MENA region.

Hungary can truly claim its place at the heart of Europe.

The history of central Europe has been a turbulent one, different cultures have fought for influence for hundreds of years.

And after the political upheavals of the 20th century things are looking up economically and Hungary’s busy production industry is a powerful example of rising inward investment. In short, filmmakers find a lot on offer here,

HUNGARY+D.indd 46

and for European filmmakers it’s on their doorstep. As well as beautiful natural locations and a comfortable four-season climate, a turbulent history has left a diverse range of architectural styles and beautiful sights of interest across the country — Roman ruins, Turkish baths and mosques, medieval castles, ornate palaces and socialist-era behemoths. In the past Budapest has been shot as Amsterdam, Berlin, Buenos Aires, London, Paris, Vienna and Moscow.

Hungary has a vibrant film history too and a successful contemporary international film industry — partly due to incentives available for film and TV — and therefore a legacy of experienced crew, including multi-lingual professionals, industrystandard equipment and know-how as well as multi-racial talent — thanks again to that turbulent history.

An add-on to those beautiful locations and a driver for business for the Hungarian film industry is the availability of worldclass studio space, which includes Stern Film Studio & Media Center, Origo Film Group, the old state-owned MaFilm and one studio that is welcoming more and more commercials, Korda Studios. Named after after Sir Alexander Korda, a Hungarian-born British film producer and director who died in 1956, Korda Studios is a state-of-art film studio complex located 30 km (18 miles) west of Budapest in the wine-making village of Etyek. Since 2007 it has welcomed a raft of international productions and right now is hosting the second season of The Weinstein Company’s drama Marco Polo.

Netflix is utilising the workshops, the twin stages and a Renaissance backlot; Sony Columbia Pictures is booked in to use the

25/06/2015 21:08

LIONS DAILY NEWS

FRIDAY / JUNE 26 / 2015

FOCUS ON HUNGARY

47

An Italian/French co-production spot for Lavazza, serviced by Budapestbased Angel Films and directed by Jean-Pierre Jeunet (pictured)

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48

FOCUS ON HUNGARY

water tank for feature film Inferno; and, according to managing director Gyorgy Rajnai: “We are in talks with another Weinstein project as well as a US TV series which will run into 2016, occupying more than 50% of our capacity.”

On top of the feature-film and TV activity Korda Studios hosts numerous commercial and music-video projects, and Rajnai reports that business has been building steadily in the commercials area.

Top attractions include six state-of-the-art sound stages on 15,000 sq m, one of the biggest soundstages in the world with an area of 6,000 sq m and net buildable height of 20 m; nearly 7,000 sq m of warehouse and workshop areas; 15 hectares (37 acres) of empty backlot space suitable for set construction and 10 hectares of backlot sets, including New York (6,500 sq m), Renaissance City (17,000 sq m) and Medieval Town (12,000 sq m).

“We are improving our services and market our unique selling points in the region including a 400m3 water tank with underwater bay windows for dry shooting. We are also contributing to forming a cluster for post-production, animation, CGI talent and working with them on exploiting future industry technologies,” Rajnai says. “Our clients and partners can also benefit from the beautiful surroundings including lakes, rivers and forests and the film-friendly location portfolio of our corporate affiliates including a sports arena, music hall, offices, shopping centres, airport and winery.”

So what news from the production services companies in Hungary? The overall mood is positive. Zita Kisgergely, executive producer at PPM Film Productions, a company that has worked with international clients including Nestlé, Citbank, Kia and Sony, says: “We have had enough success in this field that we are currently expanding into feature production.”

After 20 years in the business she has plenty of advice for filmmakers thinking of travelling to Hungary. “I personally love to shoot around the State Opera House and the old pre-war villas of Buda. In the countryside the Eszterházy Palace is a pleasure to visit. Lake Balaton, the largest lake in Europe, is also a personal favourite.

There you can find well-preserved countryside, ancient monasteries, and rolling vineyards,” she says, adding: “Budapest is divided by the river Danube, which makes for expansive, photogenic bridges. There is a huge contrast between the hilly Buda side and, buzzing, cosmopolitan Pest. On one side of the city, you can go hiking and caving, while in Pest

HUNGARY+D.indd 48

FRIDAY / JUNE 26 / 2015

the nightlife attracts people from all over the world. For all these reasons, it is also a great place for film and ad production.”

Katalin Krammer, executive producer at another Budapest-based production company and Lions regular, Strawberry Films, reports that alongside a busy schedule of work coming from Europe they are also called upon more and more

by US companies.

Krammer is certain that even though there may be countries in close proximity to Hungary that can be less expensive to film in, the fact that Hungary has such experienced crews and a rich film history means that a lot of good work “still lands in Budapest”. A recent local job for Strawberry, for Klinsky foodstuffs, came from BBDO Moscow.

Pioneer Productions’ Milan Szabo, another Lions regular, is aiming to end this year as one of the best in the last decade for business. Recent projects include “an amazing shoot with Sam Brown [director, Rogue Films] for Virgin Atlantic last December, and we’ve had the opportunity to work with Biscuit’s Noam Murro, Academy’s Martin Werner, Björn Rühmann from Furlined and Sean Thonson from Supply and Demand.”

Szabo’s upbeat mood extends to all aspects of the Hungarian Film industry. “Ït is living its Renaissance these days. Our clients have been coming over from the US and the UK for several years, but now others including from France, South Korea and Norway are setting foot on our market,” he says.

Szabo also emphasises the importance of the diversity in the Hungarian talent pool to the extent that shoots in neighbouring countries — Romania, Slovenia and Ukraine for instance — come looking for talent from Hungary.

Pioneer Productions’ shoot for Virgin Atlantic

LIONS DAILY NEWS

Also Hungarian cites are in transition with increased economic activity bringing modern development as well as renovation, which according to Szabo means the location library is in constant need of updating. “We send out scouts to the countryside and to the smaller cities on a regular basis. This way we can keep track of all major changes around us, and can update all our clients in time,” he says.

Producer Zsofia Kende from Angel Films, based in Budapest and with offices in Slovakia and Serbia, is also in a buoyant frame of mind. “There are a lot of partners coming back to us year after year and of course we are getting new clients too. Our main markets are North-America and Europe — the UK, Germany, France and Scandinavia in particular,” she says.

Recent projects for Angel include a Fiskars spot for Finland, a Schwarzkopf shoot from Germany, a period beer spot for SpyFilms Canada and a Mercedes spot with director Janusz Kaminski. At the beginning of the year we had a great shoot for an Italian/French co-production for Lavazza. It was a huge stage job directed by the world famous director Jean-Pierre Jeunet (Amélie, 2001),” Kende says.

“Most of our clients fly over only with the director and DOP. We provide everything and everybody else from Hungary.”

Judit Romwalter from Sparks Camera and Lighting puts her company’s busy schedule down to “our reputation in the Hungarian and the international market”.

Talk to Hungarian production companies and they all experience repeat business and value it. Budapest is a film-friendly city and Hungary is a film-friendly country. When asked to sum up what her country has to offer PPM Film’s Kisgergely says: “Class, quality, transparency.”

25/06/2015 21:08

The IDEA

The RESULTS

In June 2014, NescAfé launched a new communication platform and a unified look and feel in 180 markets. As part of this strategic transformation, the brand wanted authentic, consumer-created content to connect Nescafé with Millennials on social media.

After six weeks, NescAfé received 60 high-quality videos from 24 countries, featuring Office Games, french street Rap and even playing on what inspired Alexander Graham Bell to invent the telephone.

NescAfé challenged the eYeka community to submit videos about what they would start with a NescAfé.

‘The winning entries are outstanding videos that really capture the essence of NescAfé’ Michael chrisment Global Digital & Media, Nescafé

The NescAfé team was thrilled by the quality of the videos, which all highly resonated with Millennials and interpreted the brand in fresh and creative ways. ‘co-creation with eYeka can help us accelerate our Brand Redvolution, showing how young talents start with a NescAfé’ sean Murphy Global strategic Marketing, Nescafé

eYeka is an online community of over 300,000 very creative individuals from over 160 countries who participate in our challenges to express their creativity and connect with leading brands to solve realworld problems with fresh ideas. We are a crowdsourcing platform that connects creative individuals with brands to boost their return on marketing investment. We offer end-to-end solutions from ideation to curation, validation and amplification. Leading brands such as Unilever, P&G, Mondelez, Coca-Cola, Nestlé, Danone, Hyundai and Toyota are already in eYeka’s playground.

FInD oUT moRE on EYEkA.com!

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25/06/2015 20:09

FILM IN SCOTLAND FOR THE PERFECT LOCATION Contact us today for a fast, free, confidential location service, award-winning production companies, experienced crew and great facilities.

www.creativescotlandlocations.com E locations@creativescotland.com T +44 (0) 141 302 1723/35 Oldshoremore near Kinlochbervie, Sutherland.

Photo: Bill McKenzie/Scottish Viewpoint

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LIONS DAILY NEWS

FRIDAY / JUNE 26 / 2015

FOCUS ON PRODUCTION

51

BUSY COMMERCIALS PRODUCERS HAVE A LOT TO THINK ABOUT. DECIDING WHERE IN THE WORLD TO SHOOT CAN BE AFFECTED BY TIMING AND CREATIVE VISION, BUT IT IS MONEY THAT HANGS HEAVIEST ON THEIR MINDS AND HELP COMES IN EXPECTED AND SOMETIMES, UNEXPECTED WAYS

WHERE IN THE WORLD? S

PECTACULAR scenery,

predictable weather, experienced crew and sound infrastructure can all be important for commercials producers looking to square the circle and produce an ad or run a campaign that satisfies the advertisers and everyone’s pocket.

In many parts of the world, incentives for film and TV production have transformed an industry where vast budgets are knitted together in the build-up to filming. Most advertising campaigns involve tiny budgets in comparison, and much shorter lead times. But producers would do well to spend a little downtime familiarising themselves with what is available, as incentives can be a very useful add-on early in the thinking process of a campaign.

The US offers the most choice of incentives for commercials producers, though it varies widely from state to state with some areas offering attractive deals that may well make a long journey viable. Some with less on offer may only be attractive to North American filmmakers able to make a short journey across state lines. And some states apply annual caps on available incentives so early planning is advised. Examples of the range of available incentives include: Louisiana, with a hefty 30%

transferable tax credit on qualified expenses plus an additional 5% on resident hires up to the first $1m in wages, per person; Texas, with 5% of qualified spend between $100,000 and $1m, 10% of qualified spend if it exceeds $1m and 2.5% uplift on qualified spend in distressed areas; and Ohio with 25% refundable tax credit for in-state expenditures, all cast and crew, 35% for resident cast and crew (minimum spend $300.000). And there are many more states that offer no tax incentives for commercials – California, New York, Wisconsin and Michigan, for example.

This is of course a minefield for international producers to negotiate.

US commercials producers have grown used to hopping state to state to take advantage, but it requires some homework for those from other parts of the world. It is worthwhile shopping around as various web-based entities — location database websites and film services companies for example — offer to act as agents, guiding producers and filmmakers through this process and even making applications of their behalf.

Alongside the US states there are a few countries prepared to offer direct tax incentives to the advertising industry.

The Emirate of Abu Dhabi came onto the radar for film tax incentives with a bold offer, the first of its kind in the region which is jockeying for position in the world of film, television and related media industries. And from the outset the incentive has been offered to commercials producers on the same basis as filmmakers. Twofour54, Abu Dhabi’s media and creative industries

hub, incorporating the Film Commission, overseas the application of the incentive scheme, which offers rebate of up to 30% of qualifying spend in the Emirate.

Malaysia is keen to step up its offer in order to establish itself as a filmmakers destination in Asia, and it extends its 30% tax rebate to commercials, with some conditions applying. Tiny in comparison is Trinidad & Tobago in the Caribbean, but it too is offering an attractive rebate for commercials producers, depending on the qualifying budget.

Talk to film offices around the world and they are paying attention to those areas that offer incentives for commercials production. Many governments are restructuring or reinventing their offer to filmmakers in an effort to draw investment — cultural and financial — and if the commercials incentives such as those offered by Abu Dhabi look successful, they may well consider incorporating such a scheme in the future in order to attract repeat business.

Parts of Europe offer incentives in the form of less expensive costs or flexible and varied locations. Eastern Europe is one region that has taken advantage of its lower costs to build up a busy and experienced raft of production companies that service incoming commercials producers and advertisers.

One example is Red Production, which has representation in Serbia, Croatia, Montenegro, Albania, Greece and LA in the US. Producer and head of the Croatian office Mirna Bucevic sums up her country’s attitude as “German

Fataga in the mountainous region of Gran Canaria Photo: Gran Canaria Film Commission

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efficiency, Eastern European prices and Mediterranean hedonism”.

The production industry in this region has built up a long list of clients from all over Europe and beyond. “With our bigger Belgrade-based sister company we already have a list of happy clients. For example in almost the same week we were servicing a Ukrainian mobile operator and Danone for Russia. Just few days later we did our second job for Dusseldorf-based production company Cloud. Of course Italians and Austrians as our neighbours are regular clients, but what makes me happy is that we did a few big Middle Eastern jobs and a Vogue editorial with Mario Testino and Lara Stone in Dubrovnik,” Bucevic says, adding that it is not just low prices that attract producers, it is also the experience and high standard of crews and the available variety of locations and actors.

Another small region of Europe that has made itself attractive for commercials is Spain’s Canary Islands, an archipelago that looks as though it has dropped off the map of Europe and lodged itself off the northwest coast of Africa. Although it does not extend its film incentive to commercials, it does operate a low-

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taxation zone, which keeps down costs for local companies and a reduced rate of VAT at 4% compared to 21% in the rest of Spain. However the main feature that brings production consistently to the islands is the mix of climate, locations, connections and legal and political security, according to Carmen Díaz of the Gran Canaria Film Commission. “We have the whole world in one island, a springtime climate year-round, with 4,800 light hours per year and an average annual temperature of 16-25º.”

Some companies in the Canary Islands have long-established relationships with other regions of Europe and further afield, that ensure repeat business. A good example is Seven Islands Films, headed up by Michael Friedl, which has brought in a long line of commercials servicing the German market, among others. A recent success was an ad for Ikea in Germany with tempo media filmproduktion, directed by Hanna Maria Heinrich, which features lush forests, deep waters, deserts, crashing coastlines and grey and blue skies — all filmed locally. The company was established in 1995, servicing a burgeoning film industry, but has increasingly sourced its

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business in the commercials arena, for local and international clients.

Alexandra Meggle, from the Tenerife office, describes the region as a “minicontinent under one roof, only four-to-five flight hours from mainland Europe, with a variety of worldwide locations on our seven islands”. Clients in Germany and elsewhere rely on an experienced infrastructure, for example, Seven Islands Film runs its own equipment rental, lighting and catering entities), with other services available locally including SFX, talent, props and wardrobe. The Canary Islands is one region that promotes itself as a one-stopshop for filmmakers.

So in the end it still requires nifty work on the balance sheet. Hard cash sounds attractive and an incentive could slash a budget, but negotiating a rebate system that can be complex and fragile may cause hold-ups along the line. These possibilities have to be weighed against locations that have other attractions, whether finding efficiency savings in less expensive areas or taking help from local government bodies who may offer support in other ways such as location tours or hotel deals.

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MOVE OVER THE WEST — THE EAST IS SET TO BECOME THE PLACE WHERE THE FUTURE HAPPENS FIRST. ASIA IS REDISCOVERING ITS TALENT FOR INNOVATION, WRITES DIGITAL MARKET ASIA’S NOOR FATHIMA WARSIA, AND THE MARKETING AND COMMUNICATIONS INDUSTRY WILL BE THE RICHER FOR IT

THE TIME FOR ASIA IS NOW HE WEST has been home to game-changing technology and innovation for a significant period. In 1994, Amazon changed the way consumers traded. In 1998, Google redefined searching for information. The iPod in 2001, Facebook in 2004, YouTube in 2005 and the iPad in 2010 — each milestone transformed the consumption of music, socialising and connecting, consuming content and the way people interact with devices. The time for Asia is now. If there is one trend that stood out in the marketing and communications industry in the past year, it is that innovation is shifting its address to the East. The East is characterised by being mobile-first, which will only become more pronounced. By 2018, 50% of the world is expected to be on the internet. That means, for most brands, 85% of consumers targeted will be on the net. Asia, which has had a rich history of innovation, is going to make a difference to this changing media landscape. Asian innovations dating as back as far as the Han Dynasty, when the first form of paper appeared, have changed the world. As the pace of transformation increases, the next three decades will once again see Asia leading change, some of which will impact upon large-reach media such as TV and mobile.

At present TV has a reach of nearly 85% in the Asia-Pacific region. However, the rise of high-speed broadband has enabled consumers to access the content of their choice in their preferred way. While it is the UAE that is leading the way in this respect, markets in Asia including Korea, Japan and Taiwan are now enjoying the advantages of access to data and rich content. Added to this, there are now new ways of personalising the box. Samsung and LG are just two of the brands that are introducing facial-recognition technology, 8K sets that take high definition up a notch and other innovations that render obsolete the concept that “50% of ad messaging is wasted”. Experts believe viewers will receive personalised content,

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with TVs that recognise an individual’s face making the medium highly relevant and powerful. TV is going through a golden age and the best is yet to come. It is deemed to be dead by some because it is growing at only at 4% in the region, in comparison to the 40% growth that online video is enjoying. But TV is now everywhere — and that is where the difference lies. There is also the example of Huaweii, which is creating seven-inch handsets — a reminder that, in various markets in Asia, it was not unusual for people to consume long-form video formats on their handheld devices. Large, thin screens offering great viewing experiences become important in this context, and the advent of 4G technology will only enhance the proposition further. Baidu, Alibaba and Tencent — the famous BAT trio that is leading the digital transformation in China, soon to be the world’s largest digital advertising market — all have one point in common: utility. Baidu is not just about information and searching, but it also provides the necessary ecosystem to book a ticket or reserve a table. Alibaba is all about offering utility. WeChat from Tencent has 1.1 billion subscribers at present. The next highest in the socialmessaging space is WhatsApp, with 700 million subscribers. However, WeChat does not just offer messaging but also allows its users to access entertainment, potentially date somebody, play games and so on. Innovation has to be useful because successful examples show that utility ultimately drives growth. In Asia, one catch is in the mindset of the people.

Innovation essentially has to be “wrong” in order to be right. If something is right, it has been validated by the past. This implies the need to take risks and to stop fearing failure. Asia is still working its way towards embracing a culture where it is acceptable to fail. Brands from this background do not take any risks at all.

However, the changes in the marketing landscape are having an impact on the way marketers need to structure them-

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selves. arketers have voiced their doubts about digital marketing departments in today’s world, because digital is everywhere. This is the year when PCs will be overtaken by tablets — a category that is just under seven years old. We are still in a place where the rise of a new force needs attention, which is why there are digital departments. Industry gurus see this changing because of the pace at which this medium has become omnipresent.

At a basic level, 88 of the world’s 195 countries are “free” in the sense that citizens have absolute freedom to express their opinions. Thanks to digital, every individual in these countries has the potential to be a citizen journalist, suggesting that the most significant impact of digital is on freedom. Data shows that, for a market where the GDP per capita is below $2,000, the average number of digital devices per person is at 1.43. Around 53 countries fall into this category. For markets where the GDP per capita is between $50,000 and $1,600,000, this number rises to six, although only 17 countries fall into this bracket. Most fast-growth markets in Asia are in the GDP-below-$2,000 bracket.

What marketers, publishers and media create for Asian markets will therefore be very different to what they create for others. Digital is still the fastest growing medium, primarily because of its personal nature. The next big trend is tipped to be the internet of things, including the wearable tech sector. In the last decade, the mobile internet has seen a 2,134% growth, while fixed internet has grown by 406%. Another difference between East and West concerns aspiration and the role of brands. Unlike in the West, where brands are seen as allies, eastern consumers only see some brands are allies —most are crutches. That said, brands have a fundamental role to play. In bigger markets, this role is more significant. In the East, it is still about aspiration. The brand philosophy that the consumer is king has not changed. However, today, the king has a big voice and, in most cases, is part of many common-interest communities. Consumer-generated content is one of the biggest trends, and there has been a significant increase in local content.

Marketers, even in markets such as Southeast Asia, China and India, are seeing consumers create for brands.

Technology may be a critical T word, but the other equally important T word for brands is “trust”. Trust can be earned and lost on a daily basis and this has a substantial impact on how brands respond to consumers. The future marketing department needs to be humble, responsive and have more data scientists in it.

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LIONS DAILY NEWS

US CREATIVES ARE CALLING FOR A REVAMP OF THE AD INDUSTRY, INSISTING THAT STRATEGIES NEED TO BE REFORMULATED TO ENGAGE WITH ALL MARKET SECTORS. WHAT’S NEEDED ARE BIG IDEAS SEGMENTED INTO RELEVANT MESSAGES, WRITES PRODU’S LIZ UNAMO

TOTAL MARKET, TOTAL RETHINK INCE Hispanic consumers continue to be a cornerstone of the US economy, the advertising industry has always faced the challenge of winning their loyalty. These days, the Latino market is no longer seen as just an opportunity, but has become essential to economic growth, not only for companies providing goods and services, but also for the advertising agencies that serve them. Specifically, the “aggiornamento”, or modernisation, of the Hispanic ad market has kept the numbers on the positive side, with an increase in investment to $187bn forecast for this year, according to figures provided by the Interactive Advertising Bureau (IAB). Though expectations of an

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improving world economy favour industry growth, it is also certain that many challenges must be met in order to keep it growing.

One subject that business leaders and creatives continue to debate is the “total market” approach. Since the term was coined, it has evolved and poses questions for creatives about what, if anything, is being done in this regard.

The founder, creative director and head chef of BBQ, Pablo Buffagni, says that one subject to be resolved is whether different advertising is needed for different segments, “or if just one theme can reach everyone when it is segmented in a relevant manner”. In this way, he adds, “results can be studied and determined by categories, mode of consumption and the cross-

Left to right and top to bottom: Leo Olper: “We’re doing a lot of target segmentation” Norberto Zylberberg: “Good creativity is what captures market share and clients” Luis Miguel Messianu: “What’s undoubtedly important are the big ideas” Maria Bernal: “Our ideas reflect realities that Hispanic agencies know well” Curro Chozas: “This new marketing trend affects creativity, but in a good way”

referencing of data. This would be really useful and I’m hearing clients and agencies talking more about it all the time.”

A more critical view is expressed by Norberto Zylberberg, senior vicepresident and group creative and development director of LatinWorks, who argues that the total market is an idea about how to win new business.

He stresses that good creativity is what captures market share and clients.

Nonetheless, Zylberberg believes results depend on “whether clients are willing to back with investments what they say they believe they should do”.

He adds: “Clients need the multicultural market to grow their business, because that’s where the growth of everything comes from. But

they are still pretty wary about coming up with the money they need to invest and about allowing agencies working in the multicultural market to have a little more control. There’s a kind of contradiction here, because you won’t get different results with the same old recipe.”

On the other hand, for Luis Miguel Messianu, president and chief creative officer of ALMA, the total-market approach is misunderstood “because it

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starts from a search for efficiency and not for efficacy, while what’s undoubtedly important are the big ideas”.

One of the challenges implicit in the total-market concept is the relevance of the message, says Curro Chozas, creative director of Grupo Gallegos, who believes that a message may be understood, but getting the consumer to take action on the basis of it is the hard part. “If we want to captivate someone, we have to say things that matter to them,” he says. “But what is important culturally for an Anglo, an Asian, an Hispanic or an African American isn’t always the same. And here’s the problem: to create messages that are culturally comprehensible for all, but at the same time are relevant to each.

Conclusion: this new marketing trend obviously affects creativity, but in a good way. It’s a great challenge for specialists in communications because it demands we go that extra mile to perfect our research, strategies and, of course, creativity.”

For Elias Weinstock, executive vicepresident and chief creative officer of Casanova Pendrill, the total-market

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approach has undergone a notable change in the past couple of years, particularly in the way in which messages are being oriented towards young Hispanics. “When we think of an idea, we don’t think in terms of total market — we think about what I call ‘total person’,” he says.

For his part, Leo Olper, one of the partners of d’exposito & Partners, says that the meaning of the term has been changing and that the challenge lies in changing along with it: “We’re doing a lot of target segmentation in speaking to the whole range of Hispanics and, possibly, to African Americans, Asians and all the multiculturals, but also to different age groups and social segments. When we speak of a total market, we’re talking about all ages, not just different market sectors. At d’exposito & Partners, we’re pretty well prepared to take on that challenge.”

Noteworthy among the strengths of Hispanic advertising is that it can refer to things that the general market is still not prepared to do, according to Maria Bernal, creative director of LAPIZ. “Our ideas reflect realities that Hispanic agencies know well, since we are often

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the target group. Like all Hispanics, we learn to navigate our Hispanic world, the world of the general market and then back again with no problem. That’s just what we as agencies do when applying the total-market approach.”

From the standpoint of brands, Peter Hall, senior vice-president of marketing for the Americas at Heineken, says that a single strategy and a single message have been key to positioning the world-famous beer. “Heineken is a flagship brand that we manage globally,” he says. “The idea is to have one strategy and one message that we then tropicalise and that’s where the total-market concept comes in. But the message is always one and comes from a single point of origin, which is Amsterdam. At the same time, the creative ideas for the brand can come from any part of the agencies, like general market. Added to that is a concept we call ‘local top spin’, which is what we apply locally to a global campaign.”

The debate will no doubt continue.

Meanwhile, agencies will continue to target with big ideas and relevance a Hispanic market waiting to be won.

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LIONS DAILY NEWS

CAR ACCOUNTS ARE STILL MUCH SOUGHT-AFTER BY AGENCIES THE WORLD OVER. AND WHILE BIG-BUDGET, HIGH-PROFILE TVCS STILL LOOM LARGE IT’S NOT THE ONLY STRATEGY. DEBBIE LINCOLN TAKES A LOOK AT WHERE AND HOW SOME OF THE ADVERTISING BUCKS ARE SPENT

MOTION PICTURES T

HE BIG commercials,

featuring shiny new cars on sweeping roads down mountains or across deserts are still much-loved by creatives, consumers and agencies. But as the multiplatform world is changing all forms of communication, so the big car brands are looking at new ways of grabbing consumer attention.

Placing cars in front of a cinema audience has been something that manufacturers have all been keen to do ever since James Bond made Aston Martin one of the automotive industry’s

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most exclusive brands. Product placement in cinema and on TV is not a new idea, however the model is diversifying as the competition for eyeballs across devices hots-up and manufacturers have identified this as a viable add-on to their advertising strategy.

And Aston Martin isn’t the only brand to have had the good fortune to land a part in a Bond movie. Jaguar Land Rover has placed vehicles in many films over the years, including the Bond movie Skyfall in 2012 as well as the next in the franchise. Chris Wilde, Jaguar Land Rover MENA brand director, says: “We have continued our successful involvement with the Bond franchise, with our Jaguar C-X75, Range Rover Sport SVR and Land Rover Defender Big Foot cars, all provided by our Jaguar Land Rover Special Operations division, and featuring in the latest Bond movie, Spectre,” — which shot in Austria, Mexico, Morocco, Italy and the UK.

Abu Dhabi was the location for From A To B (2014), another film featuring the Range Rover. In this case the car became a principal character in a road movie, carrying three friends from Abu Dhabi to Beirut. Ali F Mostafa, a British-Emirati director (City Of Life, 2009), began working with Range Rover back in 2011 when he became a regional ambassador for the Range Rover Evoque. “In 2012, we announced the extension of this partnership for a further three years, culminating in the news at the 2013 Cannes Film Festival revealing that the Evoque would be featured in From A To B,” Wilde says.

“At Land Rover, we have always looked beyond traditional product placement — we look for opportunities that allow us to associate with genuinely compelling and highly relevant content that engages our target audience here in the region. We see this as a long-term partnership and are proud of the positive reception From A

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To B has received since its debut at the Abu Dhabi Film Festival in October 2014.”

As with all advertising, reaching the target audience is everything. “We are looking to drive familiarity, appeal and consideration among younger, affluent Arab males, many of whom are avid film fans,” Wilde says. “So when Ali told us about the storyline in the film involving three friends from the region bonding on a regional road trip, we felt it was a natural fit.”

Wilde hails this strategy as a success: “From the way Ali has cleverly woven the Range Rover Evoque into the film, to the impressive reviews the film has since received from not only regional but also global media — I think the final result surpassed our expectations.

The film’s producer, Image Nation, has also received a huge amount of positive feedback from regional audiences who praised the way it has pushed boundaries for an Emirati film. We have also been informed that Studio Canal has picked it up and the film is hitting cinemas in the UK, which is very exciting for all of us.”

Jaguar also demonstrated ambition for cinema stardom with the short film Desire, which premiered at the Sundance Festival in London in 2013.

The film

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opens with the new Jaguar’s F-Type two-seater being driven at speed in Chile’s Atacama Desert, nearly colliding with a mysterious motorcyclist. The British actor Damian Lewis is behind the wheel, seemingly a stylish delivery driver. At a petrol station a glamourous woman, played by Shannyn Sossamon, tries to steal the car, then reluctantly allows Lewis back in as they take flight pursued by gun-firing enemies. The intriguing tongue-in-cheek film places the car at the very centre of the action, while conjuring a credible narrative around it.

The other performer in the film is the Chilean landscape itself. After the film’s premiere in London the producer, Ridley Scott Associates’ Caspar Delaney, described the San Pedro de Atacama desert location as being perfect for the film — “one of the most spectacular landscapes and locations in the world”.

Deserts are classic car-commercial backdrops, but this location is not without its risks. An old car used in the shoot had mechanical problems. “One day it decided not to start, so we had to push it into the frame five times to

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Velocity’s ’You B’ute’ shoot for Chevrolet in South Africa

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finish shooting the scene. The spare part we needed would have been hard to find anywhere, let alone San Pedro de Atacama, in the middle of the desert. But a local mechanic saved us with the spare part from an old tractor,” says Cristobal Sotomayor Diaz of local production company Goodgate.

The film made a great job of showcasing both the car and the Chilean locations, and gained worldwide attention with a Sundance premiere and the kudos of Lana Del Rey’s title song. At the premiere Ian Armstrong, global marketing communications director at Jaguar, described the film as “a British-led, world-class artistic project. We believe, alongside Ridley Scott Associates, that we have a great platform for our most important product launch in 50 years.”

While in Chile, Jaguar shot a traditional commercial for the F-Type. The challenge for the spot was to find a number of locations in and around Santiago, and timing was an issue. “We are very familiar with finding variety within two to three hours from Santiago,” says Axel Brinck, partner and producer at the local production company La Casa Films. “We shot in a desert with freshly paved roads, and perfect sunshine, on a road that no one had ever shot before.”

The Chilean Film Commission is a comparatively young organisation but already has considerable experience helping crews and clients to find the right locations, including recent shoots for Mercedes Benz and Nissan. The Mercedes project was significant as the only shoot ever to work with traffic control on the Libertadores Pass international highway across the Andes. The requests for locations were specific, including a cavern carved straight into the natural rock, in the middle of a mountain range. “The road to the cavern we found was not even fit for goats,” says the Film Commission’s Joyce Sylberberg Serman. “We had to bring in heavy road-

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building equipment, and worked six days just to get it fit for the 4x4s we had on the shoot. The locals were pretty happy about that!”

For the Nissan shoot, filmed on a magnificent road leading to the Valle Nevado ski centre, co-ordination with police was required in order to close some of the roads around the location.

La Casa’s Brinck says: “We really want to highlight the contribution by the Commission’s Raimundo Alemparte.

He helped us with rerouting public transportation around a large section of downtown Santiago for the five-hour shutdown, a rare feat.”

Another country well-used to provide diverse locations for car commercials is South Africa, as the recent ‘You B’ute’ shoot for Chevrolet proves. The brief asked for locations that could be recognised as different provinces and cities in South Africa and local production company Velocity was able to do this within a 50km radius of Cape Town. “We had a two-day shoot so had to fit six locations into each day,” producer Cat Lindsay says.

“We had a clear idea of where we wanted to film and what kind of

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textures and backgrounds we wanted for each scene so there was no doubt that Cape Town was the right city to shoot in,” adds director Rob Malpage.

The weather was a key feature in a 2013 shoot in Alberta, Canada for Mercedes. “It required all four seasons to show the vehicle’s ability to handle any weather challenges. We were filming in mid-March, typically one of our heaviest snowfall months in the mountains, yet it can be quite sunny and warm in the prairies,” Sharron Toews, commercial production manager and line producer, says. “But being in the flux of the season changes could go any direction on us. On the east side of the Rocky Mountains, we experience warm Pacific winds which bring crazy temperature changes. It can be minus-25 overnight and by noon the temperature can climb to plus-18, so that made Alberta a good contender for the storyboards.”

The production company was Supply and Demand.tv and the director/DP was Sean Thonson. The locations they chose were in the National Parks, so some restrictions applied. “When filming snowy locations it is always a

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The Audi A7 Sportback shoot in Hungary. Local producer at Pioneer Productions, Eszter Repassy says: “It was a challenge to find the right place in Budapest, but we made it”

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challenge to find just the right amount of snow. Too much and you need to hire snow ploughs to clear areas to film and not enough and you need to supplement with real and/or fake snow,” Toews says. “As jobs are typically bid weeks in advance it is difficult to guess what the weather has in store for us. We experienced a crazy blizzard in the glacier ice fields area of Jasper National Parks. Luckily we where able to continue filming as it fitted in with the storyline perfectly... just not exactly where we had planned.”

Go south over the border and Montana in the US is another region often picked for its snow, among other natural attractions. “As an office we get a lot of requests for snowy, tree-lined mountain roads with dramatic peaks in the background; long, open highways; and ranch settings,” Nikolas Griffith, from the Montana Film Office, says. “In 2014, we had shoots with Ford, GMC, KIA, Polaris, Hyundai and Toyota. We saw these commercials shoot in a variety of locations including the Hyalite Canyon Reservoir, a reservoir at the end of a natural stone canyon in south-west Montana; Gallatin Preserve,

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a new development in the Gallatin Mountain Range valley; and the New Moon Ranch, a private ranch in Paradise Valley.”

Montana is film-friendly and permits are not an issue with the proper amount of lead time. The film office is also experienced at sorting out any issues. “Forest service roads require permitting through the regional ranger office, often these federal offices are under-staffed and on one occasion recently a commercial came in with three days to permit.

So we suggested a private road. The cost of using a private road can vary greatly depending on how many homes the road serves and how amenable the owners are to the disruption. With the location as specific as it was, options were limited, the production and Home Owners Association needed to agree on fees, parking, and how heavily the production plans to ‘own’ the road. In the end, with our assistance they reached an agreement.”

Griffiths reminds us that shooting in deep country can have its quirks. “As the scout went to the [ranch] door and began talking to the owner, a large turkey came up on the porch and went into a full tail fan. This took the scout

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back a step. The owner said ‘Don’t worry, that’s just Julio. He thinks you’re after his hens.’ This is what happens when you film in Montana.”

The west coast of the US has long been a favourite location for car commercial shoots, with a mix of spectacular coastal roads and landscape.

Marin County in northern California was the location for a recent film for YouTube channel MotorTrend. For the episode of Head2Head, host Jonny Lieberman takes two powerful American cars for a fast drive and comparison test featuring fantastic views of Marin’s back-country roads.

“MotorTrend was looking for three locations for three different types of road test: one straight for tandem speed checks, one location for burn-outs and a third for doughnut spins,” says Deborah Jean Albre, creative serivices director and film liaison for Marin County. “The Marin Film Resource Office scouted all

On location with director Ali Mostafa in Abu Dhabi for From A To B, a feature films that embeds Jaguar Land Rover’s Range Rover Evoque right in the action

SEBASTIÁN ALVAREZ, VOLCANO FILMS

“TENERIFE HAS IMPRESSIVE COASTAL ROADS AND DIFFERENT KINDS OF FORESTS AND MOUNTAINS, THE RESULT OF THE BIG ARRAY OF MICROCLIMATES”

LIONS DAILY NEWS

locations for this shoot because MotorTrend had contacted us directly.”

The shoot required road closures for periods of time and co-operation from law enforcement. “This was to compare two muscle cars, and a permit was OK’d for a simulated course race up to 60 mph under controlled conditions. One of the supervising ranger monitors was a bit strict about the speed limit. Each time one of the cars would drive out of the staging area 10 miles over the allotted speed limit, she’d take off after the car to tell them to slow down. At one point she even interrupted part of the shoot to remind them of the speed limit. It was funny at the time.”

Although California is prized for its coastal views, Albre has some other suggestions for car shoots. “Marin County has a number of beautiful driving roads, especially in the spring when the hills are green and full of wildflowers. There are a couple of back roads which I have not seen filming on, and maybe that is because the permitting is a bit tricky for soft road closures.

But if the planning is done far enough in advance and if one can work around the restrictions, it would be well worth it.

My two favourites are the Point Reyes-

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Petaluma Road and the Marshall-Petaluma Road,” she says.

Rolling hills are also on the menu further south in Monterey County, “what we call Steinbeck country”, Karen Seppa Nordstrand, film commissioner at the Monterey Country Film Commission, says. Specifically these are the hills overlooking Salinas Valley which writer John Steinbeck referred to as “pastures of heaven”.

“Several of our location ranches have acres of open land, grazing cattle, no power lines, just winding dirt roads. I’d like to see some off-road vehicles and truck brands come for our ranch-style looks too,” she adds.

Seppa Nordstrand admits that the coastline gets most of the attention.

“Over the years we’ve had just about every car model come here to shoot along Big Sur’s dramatic coastline, with its famous concrete arch Bixby Bridge as a centrepiece location. Range Rover Pursuit filmed in the hills at a Big Sur ranch called Calera. We’ve had Lincoln, Corvette, Mini Cooper, Lexus and many more,” she says, adding: “And when the Concours d’Elegance car show comes to

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Pebble Beach, the cameras are all rolling for new commercial footage and TV shows about cars. A recent Jeep shoot utilised Carmel Mission and Bixby Bridge, as well as an open meadow near Rocky Point in Big Sur.” Occasionally car commercials will turn away from sweeping landscapes and look for urban or gritty locations instead. This was the case for a shoot for the Audi A7 Sportback in Hungary.

Local producer at Pioneer Productions, Eszter Repassy says that the client was looking for an older, industrial warehouse-type location. “It was a challenge to find the right place in Budapest, but we made it,” she says, with the help of their location library, location managers and “great” location scouts. The result is an atmospheric spot that captures the classic looks of the car.

Repassy says that Hungary can offer car clients all the traditional locations “picturesque landscapes, forest roads, rivers and lakes” — as well as “16 state-of-the-art studios”.

Sometimes an area is chosen precisely because it mimics other regions of the world and the Spanish island of

FOCUS ON CAR COMMERCIALS

61

Tenerife in the Canary Islands, off the north-west coast of Africa, has recently done just that when local production company Volcano Films was asked to find a rocky desert that would resemble Arizona in the US but would not automatically be recognised as Arizona.

This shoot was also for Audi: “We did find what our client was looking for,” says director and Volcano founder Sebastián Alvarez. “In Tenerife we have one National Park called Teide National Park that offers a desert, as well as forests and a lunar landscape, all within a short distance. Tenerife also has impressive coastal roads and many different kinds of forests and mountains, the result of the big array of microclimates we have.”

Bizarrely though, the desert shoot was held up for two days because of snow, a perfect example of those microclimates. But snow doesn’t last long here.

“We had to drop some secondary shoot locations and only work on the south side of the mountain, where snowmelting was advancing quicker,” Alvarez says.

25/06/2015 20:16

FRIDAY 26

FILM LIONS AND FILM CRAFT SHORTLIST 09:00 - 14:30 DEBUSSY FILM LIONS SHORTLIST

B05 | FINANCE, COMMERCIAL PUBLIC SERVICES, BUSINESS PROD. & SERVICES | 10:10 - 10:20

A23 | FUNDRAISING, DONATIONS & APPEALS | 18:58 - 19:04

B06 | PUBLICATIONS & MEDIA | 10:20 - 10:26

E01 | PUBLIC SCREENS & EVENTS | 19:04 - 19:11

A01 | SAVOURY FOODS | 09:00 - 09:05

B07 | CORPORATE IMAGE & COMMUNICATION | 10:26 - 10:54

E02 | PRIVATE SCREENS & EVENTS | 19:11 - 19:18

A02 | SWEET FOODS & SNACKS | 09:05 - 09:12

B08 | CHARITIES, FUNDRAISING, APPEALS, NON-PROFIT ORGANISATIONS,

E03 | PERSONAL SCREENS | 19:18 - 19:27

PUBLIC HEALTH & SAFETY, PUBLIC AWARENESS MESSAGES | 10:54 - 11:19

A03 | ALCOHOLIC DRINKS | 09:12- 09:23 A04 | NON-ALCOHOLIC DRINKS | 09:23 - 09:31

C01 | VIRAL FILM | 11:19 - 11:56

A05 | HOUSEHOLD GOODS, HOME APPLIANCES & FURNISHINGS | 09:31 - 09:38

D01 | SHORT NON-FICTION FILM (UNDER 10 MINUTES) | 11:56 - 12:58

A06 | TOILETRIES, COSMETICS & BEAUTY | 09:38 - 09:47

D02 | LONG NON-FICTION FILM (OVER 10 MINUTES) | 12:58 - 13:51

A07 | PHARMACY | 09:47 - 09:49

D03 | SHORT FICTION FILM (UNDER 10 MINUTES) | 13:51 - 14:14

A08 | CLOTHING, FOOTWEAR & ACCESSORIES | 09:49 - 09:59

D04 | LONG FICTION FILM (OVER 10 MINUTES) | 14:14 - 15:06

A09 | MISCELLANEOUS | 09:59- 10:02

E01 | PUBLIC SCREENS & EVENTS | 15:06 - 15:13

A02 | SCRIPT | 11:17 - 11:54

A10 | CARS, OTHER VEHICLES, AUTO PROD. & SERVICES | 10:02 - 10:21

E02 | PRIVATE SCREENS & EVENTS | 15:13 - 15:20

A03 | CASTING | 11:54 - 12:36

A11 | HOME ELECTRONICS & AUDIO-VISUAL | 10:21 - 10:27

E03 | PERSONAL SCREENS | 15:20 - 15:29

A04 | PRODUCTION DESIGN/ART DIRECTION | 12:36 - 13:13

A12 | RETAIL STORES | 10:27 - 10:44

A01 | SAVOURY FOODS | 15:29 - 15:34

A05 | CINEMATOGRAPHY | 13:!3 - 13:55

A13 | RESTAURANTS & FAST FOOD OUTLETS | 10:44 - 10:49

A02 | SWEET FOODS & SNACKS | 15:34 - 15:41

A06 | EDITING | 13:55 - 14:12

A14 | TRAVEL, TRANSPORT & TOURISM | 10:49 - 10:57

A03 | ALCOHOLIC DRINKS | 15:41 - 15:52

A07 | USE OF ORIGINAL MUSIC | 14:12 - 14:40

A15 | ENTERTAINMENT & LEISURE | 10:57 - 11:13

A04 | NON-ALCOHOLIC DRINKS | 15:52 - 16:00

A08 | USE OF LICENSED/ADAPTED MUSIC | 14:40 - 15:19

A16 | PUBLICATIONS & MEDIA | 11:13 - 11:24

A05 | HOUSEHOLD GOODS, HOME APPLIANCES & FURNISHINGS | 16:00 - 16:07

A17 | BANKING, INVESTMENT & INSURANCE | 11:24 - 11:42

A06 | TOILETRIES, COSMETICS & BEAUTY | 16:07 - 16:16

A18 | BUSINESS EQUIPMENT & SERVICES | 11:42 - 11:48

A07 | PHARMACY | 16:16 - 16:18

A19 | COMMERCIAL PUBLIC SERVICES | 11:48 - 12:02

A08 | CLOTHING, FOOTWEAR & ACCESSORIES | 16:18 - 16:28

A20 | CORPORATE IMAGE & COMMUNICATION | 12:02 - 12:12

A09 | MISCELLANEOUS | 16:28 - 16:31

A21 | PUBLIC HEALTH & SAFETY | 12:12-12:19

A10 | CARS, OTHER VEHICLES, AUTO PRODUCTS & SERVICES | 16:31 - 16:50

A22 | PUBLIC AWARENESS MESSAGES | 12:19 - 12:29

A11 | HOME ELECTRONICS & AUDIO-VISUAL | 16:50 - 16:56

FILM LIONS

A23 | FUNDRAISING, DONATIONS & APPEALS | 12:29 - 12:35

A12 | RETAIL STORES | 16:56 - 17:13

B01 | FAST MOVING CONSUMER GOODS | 16:20 - 16:45

C01 | VIRAL FILM | 12:35 - 13:12

A13 | RESTAURANTS & FAST FOOD OUTLETS | 17:30 - 17:18

D01 | SHORT NON-FICTION FILM (UNDER 10 MINUTES) | 13:12 - 14:14

A14 | TRAVEL, TRANSPORT & TOURISM | 17:18 - 17:26 A15 | ENTERTAINMENT & LEISURE | 17:26 - 17:42

09:00 - 20:00 ESTEREL FILM LIONS SHORTLIST

A16 | PUBLICATIONS & MEDIA | 17:42 - 17:53 A17 | BANKING, INVESTMENT & INSURANCE | 17:53 - 18:11 A18 | BUSINESS EQUIPMENT & SERVICES | 18:11 - 18:17

09:00 - 20:00 SCREENING ROOM 1 FILM CRAFT LIONS SHORTLIST A01 | DIRECTION | 09:00 - 11:17

A09 | SOUND DESIGN | 15:19 - 15:31 A10 | ANIMATION | 15:31 - 15:51 A11 | VISUAL EFFECTS | 15:51 - 16:05 A12 | ACHIEVEMENT IN PRODUCTION | 16:05 - 16:20

B02 | CARS & AUTOMOTIVE SERVICES | 16:45 - 16:56 B03 | OTHER CONSUMER PRODUCTS (INCL. DURABLE GOODS) | 16:56 - 17:18 B04 | TRAVEL, LEISURE & RETAIL (INCL. E-COMMERCE & RESTAURANTS) | 17:18 - 17:30 B05 | FINANCE, COMMERCIAL PUBLIC SERVICES, BUSINESS PROD. & SERVICES | 17:30 - 17:40 B06 | PUBLICATIONS & MEDIA | 17:40 - 17:46

B01 | FAST MOVING CONSUMER GOODS | 09:00 - 09:25

A19 | COMMERCIAL PUBLIC SERVICES | 18:17 - 18:31

B07 | CORPORATE IMAGE & COMMUNICATION | 17:46 - 18:14

B02 | CARS & AUTOMOTIVE SERVICES | 09:25 - 9:36

A20 | CORPORATE IMAGE & COMMUNICATION | 18:31 - 18:41

B08 | CHARITIES, FUNDRAISING, APPEALS, NON-PROFIT ORGANISATIONS, PUBLIC HEALTH

B03 | OTHER CONSUMER PRODUCTS (INCL. DURABLE GOODS) | 09:36 - 09:58

A21 | PUBLIC HEALTH & SAFETY | 18:41 - 18:48

B04 | TRAVEL, LEISURE & RETAIL (INCL. E-COMMERCE & RESTAURANTS) | 09:58 - 10:10

A22 | PUBLIC AWARENESS MESSAGES | 18:48 - 18:58

& SAFETY, PUBLIC AWARENESS MESSAGES | 18:14 - 18:39

C01 | VIRAL FILM | 18:39 - 19:16

BRANDED CONTENT AND TITANIUM INTEGRATED LIONS SHORTLIST 09:00 - 20:00 AUDITORIUM A BRANDED CONTENT SHORTLIST

A12 | ORIGINAL USER-GENERATED CONTENT | 16:01 - 16:12

A13 | BRANDED LIVE EXPERIENCE | 11:14 - 12:14

A13 | BRANDED LIVE EXPERIENCE | 16:12 - 17:12

A14 | ORIGINAL USE OF MUSIC | 12:14 - 12:37

A14 | ORIGINAL USE OF MUSIC | 17:12 - 17:35

A15 | ORIGINAL PRINTED CONTENT | 12:37 - 12:47

A03 | FICTION: ONLINE SERIES (MINIMUM 3 EPISODES) | 09:00 - 09:11 A04 | FICTION: ONLINE (15 MINUTES OR UNDER IN LENGTH) | 09:11 - 09:36

A15 | ORIGINAL PRINTED CONTENT | 17:35 - 17:45

A16 | ORIGINAL GAME/GAMING | 12:47 - 12:56

A05 | FICTION: ONLINE (15 MINUTES OR OVER IN LENGTH) | 09:36 - 09:38

A16 | ORIGINAL GAME/GAMING | 17:45 - 17:54

A17 | ORIGINAL BRANDED DIGITAL OR SOCIAL MEDIA | 12:56 - 13:32

A06 | NON-FICTION: TV & BROADCAST | 09:38 - 09:43

A17 | ORIGINAL BRANDED DIGITAL OR SOCIAL MEDIA | 17:54 - 18:30

A08 | NON-FICTION: ONLINE SERIES (MINUMUM 3 EPISODES) | 09:43 - 09:58

A18 | INTEGRATED CAMPAIGN LED BY CONTENT PLATFORM | 18:30 - 18:56

A09 | NON-FICTION: ONLINE (15 MINUTES OR UNDER IN LENGTH) | 09:58 - 10:39

A03 | FICTION: ONLINE SERIES (MINIMUM 3 EPISODES) | 18:56 - 19:07

A11 | BRAND OR PRODUCT INTEGRATION INTO AN EXISTING PROGRAMME OR

A04 | FICTION: ONLINE (15 MINUTES OR UNDER IN LENGTH) | 19:07 - 19:31

A18 | INTEGRATED CAMPAIGN LED BY CONTENT PLATFORM | 13:32 - 13:58

TITANIUM & INTEGRATED SHORTLIST

A05 | FICTION: ONLINE (15 MINUTES OR OVER IN LENGTH) | 19:31 - 19:34

A03 | FICTION: ONLINE SERIES (MINIMUM 3 EPISODES) | 15:12 - 15:23

A12 | ORIGINAL USER-GENERATED CONTENT | 11:03 - 11:14

A06 | NON-FICTION: TV & BROADCAST | 19:34 - 19:39

A04 | FICTION: ONLINE (15 MINUTES OR UNDER IN LENGTH) | 15:23 - 15:47

A13 | BRANDED LIVE EXPERIENCE | 11:14 - 12:14

A08 | NON-FICTION: ONLINE SERIES (MINUMUM 3 EPISODES) | 19:39 - 19:54

A05 | FICTION: ONLINE (15 MINUTES OR OVER IN LENGTH) | 15:47 - 15:50

A14 | ORIGINAL USE OF MUSIC | 12:14 - 12:37

A06 | NON-FICTION: TV & BROADCAST | 15:50 - 15:55

A15 | ORIGINAL PRINTED CONTENT | 12:37 - 12:47

09:00 - 20:00 SCREENING ROOM 2 BRANDED CONTENT SHORTLIST SCREENING

A08 | NON-FICTION: ONLINE SERIES (MINUMUM 3 EPISODES) | 15:55 - 16:10

PLATFORM | 10:39 - 11:03

A16 | ORIGINAL GAME/GAMING | 12:47 - 12:56 A17 | ORIGINAL BRANDED DIGITAL OR SOCIAL MEDIA | 12:56 - 13:32

A09 | NON-FICTION: ONLINE (15 MINUTES OR UNDER IN LENGTH) | 16:10 - 16:51 A11 | B RAND OR PRODUCT INTEGRATION INTO AN EXISTING PROGRAMME

A18 | INTEGRATED CAMPAIGN LED BY CONTENT PLATFORM | 13:32 - 13:58

A03 | FICTION: ONLINE SERIES (MINIMUM 3 EPISODES) | 09:00 - 09:11

A03 | FICTION: ONLINE SERIES (MINIMUM 3 EPISODES) | 13:58 - 14:09

A04 | FICTION: ONLINE (15 MINUTES OR UNDER IN LENGTH) | 09:11 - 09:35

A04 | FICTION: ONLINE (15 MINUTES OR UNDER IN LENGTH) | 14:09 - 14:33

A05 | FICTION: ONLINE (15 MINUTES OR OVER IN LENGTH) | 09:35 - 09:38

A05 | FICTION: ONLINE (15 MINUTES OR OVER IN LENGTH) | 14:33 - 14:36

A06 | NON-FICTION: TV & BROADCAST | 09 :38 - 09:43

A06 | NON-FICTION: TV & BROADCAST | 14:36 - 14:41

A08 | NON-FICTION: ONLINE SERIES (MINUMUM 3 EPISODES) | 09:43 - 09:58

A14 | ORIGINAL USE OF MUSIC | 18:26 - 18:49

A08 | NON-FICTION: ONLINE SERIES (MINUMUM 3 EPISODES) | 14:41 - 14:56

A09 | NON-FICTION: ONLINE (15 MINUTES OR UNDER IN LENGTH) | 09:58 - 10:39

A15 | ORIGINAL PRINTED CONTENT | 18:49 - 18:59

A09 | NON-FICTION: ONLINE (15 MINUTES OR UNDER IN LENGTH) | 14:56 - 15:37

A11 | BRAND OR PROD. INTEGRATION INTO AN EXISTING PROG.

A11 | BRAND OR PRODUCT INTEGRATION INTO AN EXISTING PROGRAMME OR PLATFORM | 15:37 - 16:01

Screenings-BAT+Z.indd 62

OR PLATFORM | 10:39 - 11:03 A12 | ORIGINAL USER-GENERATED CONTENT | 11:03 - 11:14

OR PLATFORM | 16:51 - 17:15 A12 | ORIGINAL USER-GENERATED CONTENT | 17:15 - 17:26 A13 | BRANDED LIVE EXPERIENCE | 17:26 - 18:26

A16 | ORIGINAL GAME/GAMING | 18:59 - 19:08 A17 | ORIGINAL BRANDED DIGITAL OR SOCIAL MEDIA | 19:08 - 19:44 A18 | INTEGRATED CAMPAIGN LED BY CONTENT PLATFORM | 19:44 - 20:10

26/06/2015 01:41

SATURDAY 27

SCREENING SCHEDULE

FILM LIONS AND FILM CRAFT SHORTLIST

Screenings-BAT+Z.indd 63

09:00 - 16:00 ESTEREL FILM LIONS SHORTLIST

09:00 - 16:00 SCREENING ROOM 1 FILM LIONS SHORTLIST

B01 | FAST MOVING CONSUMER GOODS | 09:00 - 09:25

A01 | SAVOURY FOODS | 09:00 - 09:05

B02 | CARS & AUTOMOTIVE SERVICES | 09:36 - 09:36

A02 | SWEET FOODS & SNACKS | 09:05 - 09:12

B03 | OTHER CONSUMER PRODUCTS (INCL. DURABLE GOODS) | 09:36 - 09:58

A03 | ALCOHOLIC DRINKS | 09:12 - 09:23

B04 | TRAVEL, LEISURE & RETAIL (INCL. E-COMMERCE & RESTAURANTS) | 09:58 - 10:10

A04 | NON-ALCOHOLIC DRINKS | 09:23 - 09:31

B05 | FINANCIAL SERVICES, COMMERCIAL PUBLIC SERVICES, BUSINESS PRODUCTS & SERVICES | 10:10 - 10:20

A05 | HOUSEHOLD GOODS, HOME APPLIANCES & FURNISHINGS | 09:31 - 09:38 A06 | TOILETRIES, COSMETICS & BEAUTY | 09:38 - 09:47

B06 | PUBLICATIONS & MEDIA | 10:20 - 10:26

A07 | PHARMACY | 09:47 - 09:49

B07 | CORPORATE IMAGE & COMMUNICATION | 10:26 - 10:54

A08 | CLOTHING, FOOTWEAR & ACCESSORIES | 09:49 - 09:59

B08 | C HARITIES, FUNDRAISING, APPEALS, NON-PROFIT ORGANISATIONS, PUBLIC HEALTH & SAFETY, PUBLIC AWARENESS MESSAGES | 10:54 - 11:19

A09 | MISCELLANEOUS | 09:59 - 10:02 A11 | HOME ELECTRONICS & AUDIO-VISUAL | 10:02 - 10:08

C01 |VIRAL FILM | 11:19 - 11:56

A12 | RETAIL STORES | 10:08 - 10:25

D01 | SHORT NON-FICTION FILM (UNDER 10 MINUTES) | 11:56 - 12:58

A13 | RESTAURANTS & FAST FOOD OUTLETS | 10:25 - 10:30

D02 | LONG NON-FICTION FILM (OVER 10 MINUTES) | 12:58 - 13:51 D03 | SHORT FICTION FILM (UNDER 10 MINUTES) | 13:51 - 14:14 D04 | LONG FICTION FILM (OVER 10 MINUTES) | 14:14 - 15:06 E01 | PUBLIC SCREENS & EVENTS | 15:06 - 15:13 E02 | PRIVATE SCREENS & EVENTS | 15:13 - 15:20 E03 | “PERSONAL SCREENS | 15:20 - 15:29

FILM CRAFT SHORTLIST A01 | DIRECTION | 10:30 - 12:47 A05 | CINEMATOGRAPHY | 12:47 - 13:29 A12 | ACHIEVEMENT IN PRODUCTION | 13:29 - 13:44 A07 | USE OF ORIGINAL MUSIC | 13:44 - 14:12 A08 | USE OF LICENSED/ADAPTED MUSIC | 14:12 - 14:51 A09 | SOUND DESIGN | 14:51 - 15:03 A10 | ANIMATION | 15:23 - 15:23 A11 | VISUAL EFFECTS | 15:23 - 15:37

BRANDED CONTENT AND TITANIUM INTEGRATED LIONS SHORTLIST 09:00 - 20:00 SCREENING ROOM 2 BRANDED CONTENT SHORTLIST

TITANIUM & INTEGRATED SHORTLIST

A03 | FICTION: ONLINE SERIES (MINIMUM 3 EPISODES) | 09:00 - 09:11

A04 | FICTION: ONLINE (15 MINUTES OR UNDER IN LENGTH) | 15:23 - 15:47

A04 | FICTION: ONLINE (15 MINUTES OR UNDER IN LENGTH) | 09:11 - 09:35

A05 | FICTION: ONLINE (15 MINUTES OR OVER IN LENGTH) | 15:47 - 15:50

A03 | FICTION: ONLINE SERIES (MINIMUM 3 EPISODES) | 15:12 - 15:23

A05 | FICTION: ONLINE (15 MINUTES OR OVER IN LENGTH) | 09:35 - 09:38

A06 | NON-FICTION: TV & BROADCAST | 15:50 - 15:55

A06 | NON-FICTION: TV & BROADCAST“ | 09 :38 - 09:43

A08 | NON-FICTION: ONLINE SERIES (MINUMUM 3 EPISODES) | 15:55 - 16:10

A08 | NON-FICTION: ONLINE SERIES (MINUMUM 3 EPISODES) | 09:43 - 09:58

A09 | NON-FICTION: ONLINE (15 MINUTES OR UNDER IN LENGTH) | 16:10 - 16:51

A09 | NON-FICTION: ONLINE (15 MINUTES OR UNDER IN LENGTH) | 09:58 - 10:39

A11 | BRAND OR PRODUCT INTEGRATION INTO AN EXISTING PROGRAMME OR

A11 | BRAND OR PRODUCT INTEGRATION INTO AN EXISTING PROGRAMME OR PLATFORM | 10:39 - 11:03 A12 | ORIGINAL USER-GENERATED CONTENT | 11:03 - 11:14

PLATFORM | 16:51 - 17:15 A12 | ORIGINAL USER-GENERATED CONTENT | 17:15 - 17:26 A13 | BRANDED LIVE EXPERIENCE | 17:26 - 18:26

A13 | BRANDED LIVE EXPERIENCE | 11:14 - 12:14

A14 | ORIGINAL USE OF MUSIC | 18:26 - 18:49

A14 | ORIGINAL USE OF MUSIC | 12:14 - 12:37

A15 | ORIGINAL PRINTED CONTENT | 18:49 - 18:59

A15 | ORIGINAL PRINTED CONTENT | 12:37 - 12:47

A16 | ORIGINAL GAME/GAMING | 18:59 - 19:08

A16 | ORIGINAL GAME/GAMING | 12:47 - 12:56

A17 | ORIGINAL BRANDED DIGITAL OR SOCIAL MEDIA | 19:08 - 19:44

A17 | ORIGINAL BRANDED DIGITAL OR SOCIAL MEDIA | 12:56 - 13:32

A18 | INTEGRATED CAMPAIGN LED BY CONTENT PLATFORM | 19:44 - 20:10

A18 | INTEGRATED CAMPAIGN LED BY CONTENT PLATFORM | 13:32 - 13:58

26/06/2015 01:41

PALAIS MAP MAP PALAIS

RIVIERA

PA L A I S D E S F E S T I VA L S CANNES LIONS

L I O N S I N N OVAT I O N A

C

B

D

E

25

F

26

27

A Experience Stage B

Inspiration Stage

LEVEL 5

C Discovery Stage D The Work: Innovation Lions E

RGA Startup Academy

F

The Unilever Foundry Zone

21

22

23

24

LEVEL 4

CANNES CONNECT BAR + RIVIERA CAFÉ

17

18

19

?

20

?

LEVEL 3

BRIDGE

AC ADEMY ZONE

14

15

16

LEVEL 1

11

12

E OM ELC

W

13

i

LEVEL 0

19 Jury Room (No Entry)

1

Cannes Creative Leaders Programme 10 Café

2

Workshops

11 The Guardian Speakersʼ Lounge

3

Lions Store

12 Registration

21 Press Centre & Press Conference

4

Wi-Fi & App Help Desk

13 How To Cannes: Information & Ideas

22 The Work: Screenings

5

How To Cannes: Information & Ideas 14 Seminars: Grand Audi

6

Lions Lounge

15 The LinkedIn Clubhouse (Members Only)

24 Innovation Lions Presentations: Estérel

7

Masterclasses

16 Seminars: Debussy

25 Jury Room (No Entry)

8

Cannes Lions Archive Studio

17 Young Lions Creative Academy

26 The Work: Screenings

9

The Work

18 The Work: Screenings

27 Jury Room (No Entry)

20 Forums: Audi A

23 Jury Room (No Entry)

1

2

3

4

5

6

7

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10

i

LEVEL-1

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