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Lions Daily News - official magazine for Cannes Lions International Festival of Creativity

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Page 1: Cannes Lions Daily Friday 2011

LIONS 2011 DAILYNEWS

PUBLISHED BY BOUTIQUE EDITIONS - WWW.LIONSDAILYNEWS.COM FRIDAY, JUNE 24 , 2011

D6-4deCouv:25•01 front 23/06/11 16:55 Page IV

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www.DGit.com

©2011 DG FastChannel, Inc.

We can take your work just about anywhere.

Even Cannes 2012

even

global

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FILM BREACHES THE 30-SECOND BARRIERFOR THE first time in itshistory, film has been un-shackled from its 30-secondconfines, said Film jury pres-ident Tony Granger, globalchief creative officer of Y&R.“The good news is that thestory is no longer tied to a30-second time frame,”Granger added. “The badnews is that it’s just as painfulto sit through a bad five-minute film as it is to sitthrough a bad 30-secondfilm.” Just because a film canbe longer, it doesn’t meanthat it should be, he cau-tioned.Granger has asked his 21 ju-rors “to look for a film thatdelivers a truth about a prod-uct or brand in an unexpectedway”. Observing that his jurymembers are senior peoplefrom across the globe, so donot require detailed instruc-tions, he added: “I’ve takenthe opportunity to remindthem to be fair and that theirnames will be attached tothe outcome.” On the whole, Granger said,“something that is well pro-duced just leaps out at you.You know in five seconds ifit’s going to be good or not.”^

09.30 FORD PRESENTS: WHEN TO LET GO OF THE BRANDA look at the client’s role as creative coach in the new people-powered reality

10.30 PUBLICIS & CONTAGIOUSPRESENT: THE FIVE PER CENT CLUB:RISK AND REWARD AS CHANGE CONTINUESLearn about the brands and agencies that are diverting energy and resourcesinto uncovering new opportunities and collaborative cultures

11.30 UNILEVER PRESENTS: NEW BUSINESS MODELS FOR A NEW ERA OF MARKETINGPaul Polman and Keith Weed tackle the big issues: Asia’s rapid development,the growing power of the consumer and the urgent need for more sustainableconsumption

12.30 THE CANNES DEBATESir Martin Sorrell talks to James Murdoch and Jeffrey Katzenberg

13.45 GREY PRESENTS: 5TH GREY MUSIC LEGENDS SEMINARPatti Smith talks to Tim Mellors

14.45 PUBLICIS GROUPE PRESENTS: MAURICE LEVY TALKS TO THE NESTLE CEONestle’s Paul Bulcke shares his views onthe future direction of communications

15.45 BBH PRESENTS: GROWTH NEEDS SPACESir John Hegarty examines the change in approach needed to generateand accelerate brand growth

16.45 AKQA FUTURE LIONS AWARDSMeet the industry’s next generation of creative stars

ALL SEMINARS ARE IN THEDEBUSSY UNLESS INDICATED

IN TODAY’s world, brands mustgrow not by 3%-5%, but by 8%-10%, according to Sir JohnHegarty, founder and world-wide creative director of BBH— and this is pressurising mar-keters to rethink their tried-and-trusted strategies in order togenerate exponential rather thanincremental growth. Speakingahead of his seminar this after-noon, Growth Needs Space,Hegarty said: “Brands have todevelop new kinds of thinkingto grow into the space that’sgoing to give them 8%-10%growth. You could say this is acreative issue. It’s not. It’s a busi-ness requirement. And if mar-keting doesn’t step up to theplate, it will find itself in seri-ous trouble, because it has toprovide the strategies that candeliver this growth.” A brandthat has got it right, Hegartysaid, is Apple: “Why has Appleovertaken Nokia? It’s becausethey have created a different

kind of product. They havegrown their devices into a dif-ferent kind of space.” Hegarty— a man accustomed to gettingit right himself — will be pre-sented with the inaugural LionOf St Mark award at tomorrow’sAwards Ceremony, in recogni-tion of his outstanding contri-bution to advertising. It is the

latest honour in a long list ofprofessional, academic and stateaccolades but, he said, no lesspleasing for that. “And to be theinitial person winning the awardis an added honour.” As to thepiece of work of which Hegar-ty is the most proud, the BBHchief passes over the obvioussuspects — Nick Kamen in Levis;Voorsprung Durch Technik forAudi — in favour of a campaignfor the UK crisp brand PhileasFogg. “They were made in a placecalled Consett in CountyDurham,” he said. “We actual-ly admitted to that and had anend line which was: Made InMedomsley Road, Consett, CoDurham. And when United Bis-cuits bought Phileas Fogg, theyhad to keep the factory open togo on using the advertising. Soour advertising kept that fac-tory open and those peopleemployed. I’m very proud ofthat.” ^

DAVID Ogilvy believed thatadvertising was a force for thegood, said Tham Khai Meng,Ogilvy & Mather’s worldwidecreative director and chairman,worldwide creative council,explaining why the agency decid-ed to launch the Ogilvy & Inspirelecture series. “David Ogilvy wasa brilliant and inspired educa-tor and a thought leader,” Khai

said at yesterday’s Ogilvy & Math-er seminar. “But most impor-tantly, for him, advertising wasabout much more than sellingproducts. He believed that itcould make the world a betterplace.” Speaker Sir Ken Robin-son shares that belief, and hasbeen a tireless campaigner forbetter education models thatwill unleash the creativity in peo-ple, rather then crushing it —as is the case with the linear,industrial model upon whichmost teaching methods arebased. “The world is changingrapidly and profoundly, and cre-ativity is both responsible forthat and the only answer to it,”Robinson said. “David Ogilvyis a great example of the impor-tance of creativity and also whycreativity marks us out as being

human.” Robinson alsoexplained why every individ-ual’s life is, in fact, full of cre-ativity: “We create our lives ina way that no other living thingon the planet does. But that samecreativity has led us to a precipice,because the nature of the timesin which we live is totally with-out precedent. So much has hap-pened in the decade since I wrotea book called Out Of Our Minds,that when I was asked to refreshit, I ended up re-writing it —because 10 years ago there wereno social networks, Google wasa novelty and few people hadcell phones.” He added: “Digi-tal technology is as big a factorin transforming the world aswere the jet engine, the inter-nal-combustion engine and theprinting press.” ^

Creativity to the rescue

LIONS 2011 DAILYNEWS

FESTIVAL NEWS P1-13 FILM SHORTLIST P16 CREATIVE EFFECTIVENESS SHORTLIST P31TITANIUM AND INTEGRATED SHORTLIST P31 FOCUS ON LATIN AMERICA P38FOCUS ON MEXICO P47 FOCUS ON SOUTHERN EUROPE P48 PORTUGAL P55 FILM COMMISSIONS P56 FOCUS ON CENTRAL & EASTERN EUROPE P65 INSIDE BOX

Sir John Hegarty

TODAY’SSEMINARS

PUBLISHED BY BOUTIQUE EDITIONS - WWW.LIONSDAILYNEWS.COM FRIDAY, JUNE 24, 2011

Tony Granger

Sir Ken Robinson

Hegarty tells marketershow to raise their game

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LOOKING FORINSPIREDPRODUCTIONSERVICES INFLORIDA ANDTHE CARIBBEAN?

www.shootcollective.com

Technology isfocus of $millionchallengeTHE LATEST Million DollarChallenge issued by MilesNadal, chairman and CEO ofMDC Partners, is — unsurpris-ingly — focused on the tech-nologies revolutionising cre-ativity. He spoke at the end ofthe MDC Partners & CrispinPorter + Bogusky seminar FiveFor Five.“If you’ve got a great technol-ogy idea, social-media analyt-ics, anything else that will provethe effectiveness of creativityor enhance the effectivenessof marketing communication,bring it to us. Any technolo-gy-driven idea, we want toinvest in it. We will look at eachand every opportunity. If wecan find one we will invest$1m, if we can find five we willinvest $5m.“We’ve invested $50m in newtalent in the last three yearsand we think it’s really workedvery well for us. It’s not a gim-

mick, it’s the real deal.” As ifto prove that, last year’s chal-lenge — offering $1m for anoutstanding start-up idea —has become a fast-expandingreality. The successful propos-al from Kip Voytek, an inter-active advertising consultant,was for a Digital Works Insti-tute, to teach digital creativi-ty on a non-profit basis.Nadal told the Lions Daily Newsthat the initial, New York-basedschool has 40 full-time studentsand about 200 people in exec-utive programmes. Anothertwo institutes are planned, tobe based in North America.“They will probably be largerthan the first school,” Nadalsaid.Entries to the challenge canbe submitted at milliondollar-challenge.com, closing dateis the end of September, anywinner chosen by the end ofNovember. ^

FRIDAY, JUNE 24,2011

PUBLISHERRichard Woolley

EDITOR IN CHIEFJulian NewbyDEPUTY EDITORDebbie LincolnSUB EDITORJo StephensREPORTERSMarlene EdmundsJuliana KorantengGary SmithPhil SommerichLIONSDAIL YNEWS.COMSunnie AntoniaPHOTOGRAPHERSYann CoatsaliouMichel Johner

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CANNES LIONS DAILY NEWST: Editorial04 93 99 87 86T: Advertising in Cannes04 93 99 87 [email protected]: Jerry Odlin +44 77 6886 0417T: Lisa Ray +44 77 98 662 955Nicki Webber+1 912 308 6967Karen Watts+1 949 974 7101

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© 2011 CANNES LIONS

NEWS 3

Miles Nadal: “We will look at each and every opportunity”

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4 NEWS4

CREATIVITYand original sto-rytelling are crucial when itcomes to getting the most outof marketing on Facebook, theworld’s biggest social-medianetwork, according to CarolynEverson, vice-president of glob-al marketing solutions.Speaking at Facebook’s SocialBy Design seminar, Eversonadvised brand-owners andagencies to exploit the shar-ing, connecting, motivating andcommunity-building enabledby the Facebook format. Andshe invited the Festival’s dele-gates to take advantage of Face-book’s Sponsored Story format

as the most effective way ofreaching the relevant commu-nities among its 500 million-plus registered users.“This is the biggest opportu-nity for marketers,” Eversonsaid. “You can put consumersat the centre of your message,regardless of the screen. Wecall that ‘social by design’.”This strategy can kick off withthe brand-owner generatinga number of “Likes” on its Face-book page, followed by sellingthe advertising space on thatpage.With the Sponsored Story, thesame marketer posts anecdotes

of experiences that its fans wantto share and, according to Ever-son, this is when Facebookcomes into its own. “You canget two to seven times theengagement you get from adsfrom Sponsored Stories,because the user cares aboutwhat their friends are doing.”Everson also quoted some fig-ures portraying Facebook’s rap-idly growing reach into peo-ple’s lives: worldwide and daily,15 million people connect withFriends, the site records 50 mil-lion page Likes and more than100 million photographs areuploaded. ^

It pays marketers to tryevery trick in Facebook

AMR SALAMA, the Egyptianfilmmaker who almost lost hislife during the Arab Springuprising earlier this year, hada stark message for global mar-keters yesterday: “People arenow smart. If a corporation isselling something that we don’tneed, it will be busted one day.”Salama, who took part in theEgyptian protests that over-threw the Egyptian dictatorHosni Mubarak, was speakingduring the JWT session ThePower Of The People Is GreaterThan The People In Power.When asked about the lessonsto learn from the use of socialmedia to end tyrants’ reign, headded: “Some corporations areusing the same brainwashingtechniques that those govern-ments used to sell their bureau-cracy and propaganda. Socialmedia is going to get them

because we shall tweet aboutit and write about it. That isthe power of the people.”American-born but Kuwaiti-raised Jehane Noujaim warnedbrand-owners to select theirgood causes with care. She cit-ed a Gillette campaign that fea-tured an Arab protester whohad lost an eye standing neara Gillette poster. “You have to put yourself in theposition of people who havelost friends,” she said. “To usethe revolution for branding istricky.”Winning people’s trust is cru-cial to a brand’s longevity,added US documentary film-maker/actor Fisher Stevens.“If a company is polluting theenvironment while posting adswith ‘green’ messages, I wouldsay that is not friendly,” hesaid.^

Technology hits the right noteTECHNOLOGY is helping todrive an explosion of creativityacross a number of areas, andespecially in music, delegatesheard at McCann Worldgroup& MRM Worldwide’s seminar,Technology And Its Transfor-mation Of Creativity. Producer, entertainer and tech-nology advocate will.i.am saidthat since the tool he uses tomake music is the computer, hisrelationship with technology isa natural one. “The same chipthat allows me to make musicalso allows me to send it out,”he said. The musician has a partnershipwith Intel. “Knowing whatwill.i.am thinks really helps engi-neers in devising technology thatwill serve his creativity,” saidJohan Jervøe, Intel Corporation’svice-president of sales and mar-

keting group, and director ofcreative services and digital mar-keting. Composer, inventor and edu-cator Tod Machover said toolson computers were so power-ful a driver to creativity that itwas almost best to begin work-ing with ideas away from thecomputer. “Take your idea for

a walk around the block,” he said.He added: “Music synchronis-es different parts of the brainand we have found that we candesign music that helps us. Thelast thing that Alzheimer’spatients recognise often is music.We believe ultimately we willbe able to customise music toreshape our lives.” ^

Egyptian filmmaker and Arab Spring uprising protester Amr Salama: “we shall tweet”

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

Will people-power forcebrands to be moreresponsible?

FRIDAY, JUNE 24,2011

DR NATHANIEL Kohn and Tom Reichert (farright) have spent the week in Cannes with 23students from the University Of Georgia. Thestudents are on a Study Abroad Programme

as part of their bachelor’s degree injournalism and mass communication. During

the visit, the students have attendedseminars and workshops, as well as hearing

from key agency figures

Facebook’s Carolyn Everson

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

ADOBE

Celebrating work that sitsabove the rest.Adobe is proud to sponsor the first-ever Cannes CreativeEffectiveness Lions on Saturday, 25 June. The awardrecognizes outstanding work that has had a provenimpact on a client’s business. We know a successful campaign isn’t just about beautiful creative. That’s whywe offer powerful online analytics to optimize its impact. Congratulations to all the finalists.

D6-AD:Layout 1 23/06/11 16:56 Page 5

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6 NEWS6

FRIDAY, JUNE 24,2011

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

Award winner Schmidt givessunny outlook from Cannes

www.creativescotland.com/filmingE: [email protected]

T: +44 (0) 141 302 1723/24/35

for a free location-finding service, award-winning production companies, experienced crew, an abundance of facilities, and a supportive, film-friendly government and infrastructure...

FILM INSCOTLAND

LEO BURNETT’s New Yorkoffice is alpha-betting on theuse of language as a creativeway to communicate a brand’smessage.At The Language Of The 21stCentury session on Wednes-day, the agency analysed casestudies that show how brandscan reach their audience by

using language in original ways. The mission was summed upby Mark Tutssel, Leo BurnettWorldwide’s chief creative offi-cer: “Today, we’re speaking witha new type of alphabet. We use[the alphabet] every day whenwe connect with people. But

are brands keeping up with theconversation?”Michael Canning, Leo BurnettNew York’s creative director,explained how it built Worldof EOS, an online portal, forCanon’s high-end cameras. Butinstead of using it to drive sales,the portal is building a com-munity of photographersaround the brand.“It is for photographers to inspireeach other as a community andto focus on the creativity, notthe technology,” Canning said.Leo Burnett New York’s chiefcreative officer, Jay Benjamin,then unveiled plans to hold anexhibition for New York artists.It will centre on the agency’sLetterpress Community and thetheme “New York Writes Itself”,both language-focused initia-tives.Finally, creative director Kier-an Antill illustrated how LeoBurnett is taking its languageconcept to a new level. It is usingthe shape of Mahatma Gand-hi’s iconic wire-rimmed glass-es to create new typefaces andfonts that will to unite the nextgeneration in India’s differentregions. ^

Kieran Antill explains Gandhi’s language of unity

Mark Tutssel

ERICSchmidt, executive chair-man of Google, was in typical-ly ebullient mood in forecast-ing a technology-driven future,when he received the MediaPerson Of The Year award onWednesday night.In presenting the award, PhilThomas, Festival CEO,described Google as the mostpowerful digital company inthe world, and Schmidt’sresponse might have beensummed up as: You ain’t seennothing yet.“When I started working inadvertising, I had no idea it wasso interesting and so importantto people,” said Schmidt, whosoon after saw Google Cre-

ative Lab collect a Cyber GrandPrix. And, peering into thefuture for Google and the cre-ative industries, he said: “Oneof the points I am excited aboutis that this is just the beginningof something extraordinary thatwill get much larger.”Speaking at Google’s seminaron Internet, Innovation AndImmigration, he underlined thatpositivism in offering adviceto creatives: “The best piece ofadvice I could give is try to say‘yes’. We tend to find it easy tobe negative, but ‘yes’ is how yourlife evolves. “As an example, we’re here inCannes, one of the most beau-tiful places on Earth, but peo-

ple are so filled with worryabout their work and their prob-lems. The shift to the cities isan example of a trend that some-times has negativity attachedto it, but in fact it is somethingthat is very positive. The citiesare the creative engines of theworld. “And another positive trend isthe virtual cities that are beingcreated on the internet. Theinternet is also creating a newdemand for transparency in gov-ernments and business and oth-er areas. “These are all good trends. Thepower of yes is driving a newdawn, and the internet is a verybig part of that.” ^

Leo Burnett spells out how to communicate

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Publicis Grouperecently recordedrevenue growth rates inexcess of those shownby any other majornetwork. To what doyou attribute this?We were very pleased to seethat not only did we weatherthe crisis better than any ofour competitors (in fact weare getting out of the crisiswith a much stronger positionthan in 2007), but ourstrategy is payinghandsomely. We are growingfaster thanks to three criteria:our strong, unique leadershipin digital; our incredible talentpool; and great new businessperformance.

Do you believe we areon an upwardtrajectory after the

recent economicturbulence?This crisis is not comparable toany other we had in moderntimes. After the financial crisis,followed by the economiccrisis (the most serious since1929), we had to face the longlist of consequences: peoplelaid off, losing their jobs, theirhouses, their dignity, recessionand more recently recoverypunctuated by the bad news ofsovereign debts. Yes, we are onthe upturn but it is fragile one,and everyday news can put astop to the growth in thewestern world. Emergingmarkets are doing well butthey also have their own issuesto deal with: growinginequality, poverty ... As I'm anoptimist, I’m sure that even ifwe are on a roller-coaster, thetrend is up.

Publicis has recentlymade acquisitions in the US and China. How do you see the group’sinternational profile developing?The motto at Publicis is ‘Viva la Difference’. I likediversity, I think it is aformidable, enthusiasticrepresentation of the planetwe live in and as a Frenchpoet said, "de l'uniformiténaît l'ennui" (boredom isborn out of uniformity). I like the idea that we arediverse, human, different,modern, and that we are at the avant-garde of theadvertising agencies group.We will continue on thosestrengths, which are in linewith the evolution of theworld.

Have there been any trends or issuesemerging at theFestival that haveattracted yourinterest?Digital creativity is a concern.

It is becoming too serious; itmust be lighter, morespontaneous. There has been muchdiscussion of the impact ofsocial networking andconsumer involvement increativity. What are yourviews? We are at thebeginning of a newphenomenon, which willdramatically change societyand, by the same token, ourworld. Either we lead thechange or we'll be out.Publicis will lead the change.

Your predecessor, the founder of Publicis, stayed in post until he was 80. Do you intendto do the same?Marcel Bleustein-Blanchetwas CEO for 60 years! Iwondered if I could match or surpass him and I came tothe conclusion that despitethe progress of medicalresearch it would beimpossible. More seriously, I don't want to stay one yeartoo many. I prefer peoplesaying: “too bad he alreadyleft” rather than “it was about time”. ̂

NEWS 7

FRIDAY, JUNE 24,2011

Meet Maurice LevyToday sees two Publicis seminars at the Festival, the second ofwhich has CEO Maurice Levy speaking with Nestlé’s CEO PaulBulcke. Levy spoke to Phil Sommerich ahead of the event

S: None

T

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

Patti Smith, 2007 © Edward Mapplethorpe

N

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8 NEWS8

FRIDAY, JUNE 24,2011

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

HELLO FUTURE

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MAURICE LÉVY, CHAIRMAN & CEO OF PUBLICIS GROUPE, INVITES PAUL BULCKE,CEO OF NESTLÉ, TO DISCUSS THE CHALLENGES FACING NESTLÉ IN THE COMING YEARS.

Friday June 24 2011 from 2:45 pm to 3:30 pm. Palais des Festivals, Debussy Theater.

Page 12: Cannes Lions Daily Friday 2011

10 NEWS10

TITANIUM and Integrated jurypresident Bob Scarpelli hasasked jurors to remember thatthe award should reflect the stateof the industry and where it isgoing. “I’ve instructed them to thinkof this award as a beacon, espe-cially to young creatives, ofwhere the industry is going.” Scarpelli, chairman, DDB World-wide, said the Titanium and Inte-grated awards were foundedon a special premise. “We want-ed to step back and recogniseideas that point the way forward.In that sense, we’re looking forbold and brave work that has-

n’t been done before and thatcarries across as many mediaas applicable.” The social media boom hasopened up a whole new worldof creativity, Scarpelli said.“We’re seeing people invent-ing media in their interactionwith customers, and using socialmedia to create events and evenmovements.“We have the opportunity toaward Titanium, one of the mostexciting awards ever, at one ofthe most interesting times ever.It’s a time when young peopleuse technology almost instinc-tually to create.” ̂

Scarpelli advisesTitanium jurors totake broad view

SOUTH KOREA’s largest adver-tising agency, Cheil Worldwide,in winning the country’s firstGrand Prix ever has sent a mes-sage to creatives around theworld to be true to yourself andyour market. That is the wordfrom Bruce Haines, global chiefstrategy officer for Cheil World-wide. Cheil won the MediaGrand Prix for best use of out-door for its Homeplus SubwayVirtual Store entry for Tesco,as well as four Gold Lions.Haines said the Tesco campaignrepresented a new confidencein Korean creativity. He added:“In looking at the Korean adagency in the recent past, I’dsay it always felt it had to learnfrom other markets. Thatmeant, to a degree, that a lotof work that came out Korea

was derivative, and juries mayhave felt that what they wereseeing was something that was-n’t original.” The Tesco cam-paign, he said, “is a brilliantcombination of Korean think-ing, Korean technology andanswering a particularly Kore-an problem. In that, it has anhonesty that can be related toon a global level. “What I love about the four

Gold wins is that there weredifferent juries —Outdoor,Direct and Media — all com-ing from different points of viewbut all agreed it was an out-standing piece of work.” Thewins “will give enormous con-fidence to Korean creatives thatthey don’t have to look to West-ern markets or Japan for cre-ative leadership.” ^

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

Cheil says historic GrandPrix win is victory for truth

IMAGINE being asked to testdrive the car of your dreams,any time, from anywhere, in realtime, via your computer key-board. Not only did B-Reel, theUS production company, makethat a reality for a MitsubishiLiveDrive car campaign lastautumn, but it also plans to usesimilar campaigns to show, atthe Digital Schmigital For 2012session on Saturday, how pro-duction companies need toevolve in the digital age.UsingGPS and robotics technologies,B-Reel enabled consumers totry out Mitsubishi’s car usingtheir keyboards’ arrows duringthe 10-day campaign by adagency 180 Los Angeles.

“We want our panelists to definewhat they believe is a great pieceof work in the digital space, andto explain what it takes to sus-tain that quality repeatedly,”said Petter Westlund, creativedirector at B-Reel. “Digital isany kind of interactive experi-ence, and advertising agenciesneed to know what is possiblebefore they can present thoseideas to their clients,” addedMax Ahlborn, B-Reel’s execu-tive producer. B-Reel is the pro-duction company behind CyberGrand Prix winner The Wilder-ness Downtown, an interactivemusic video produced in col-laboration with Google CreativeLab and director Chris Milk.^

Max Ahlborn (left) and Petter Westlund: define greatness

B-Reel maps out the routefor creating digital winners

FRIDAY, JUNE 24,2011

FERNANDA ROMANO, EURO RSCG,BRAZIL

“From what I’ve seen so far, I’d like torecommend some rethinking of how the cases

are presented. There are a lot of adjectives beingthrown around like ‘first ever’, ‘revolutionary’

and ‘took over the world’. To begin with, you onlyhave a few minutes to present the case. I’d rather

see facts than adjectives. I’m also seeing a realfocus on transparency and realism in the cases

being presented”

LINUS KARLSSON, TAXI, USA“From what I’ve seen so far, the concept of tryingto marry technology with real-life experiences isreally a trend. So clearly the award-winning The

Fun Theory for Volkswagon Sweden made ahuge impact last year. I’m also seeing that

technology is making things a lot moredemocratic, and there are many more entries

with big ideas coming from smaller markets. ButI’m also seeing way too much about the

awesomeness of technology. Some work is somuch about technology that the idea is

forgotten”

PABLO DEL CAMPO, DEL CAMPO NAZCA SAATCHI & SAATCHI, ARGENTINA

“I think that it is important to reorganise thecategory so that the big idea is presented first.

I’m seeing three problems: the idea doesn’tappear until the middle of the case study, or it’svery good but the presentation is weak, or the

presentation is good but the idea is weak. Thereappears to be a fair amount of redundancy and I

guess my feeling so far is that the entries arelosing their simplicity”

Bob Scarpelli

TITANIUM AND INTEGRATED JURORS

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NEWS12

FRIDAY, JUNE 24,2011

One of several awards for China —Aywei Wong, head of production atOgilvy Shanghai, receives Gold fromDesign jury president Luciano Deosfor a campaign against spitting inthe streets

China’s first Grand Prix came from the Samsonite ad in Press, and the team from JWT Shanghai are there to collect it

DESIGN, PRESS& CYBERThere was a special glow in the Grand Auditorium onWednesday night, with 62 Gold Lions and five Grands Prix to becollected, plus a sports award

Susan Lilley, of USA Today, receivesthe Design Grand Prix on behalfDigital Kitchen Chicago, fromLuciano Deos for The CosmopolitanDigital Experience

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

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

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

Patricia Paetzold, group creativedirector, scored double Gold (inCyber and Design) and a CyberSilver for Kempertrautmann,Hamburg, with the aptly named WallOf Fame ad for Edding pens

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

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NEWS 13

FRIDAY, JUNE 24,2011

A Cyber Grand Prix for Google Creative Lab team Ben Tricklebank, left, Ricardo ‘MrDoob’ Carbello and Aaron Koblin for their music video The Wilderness Downtown

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

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

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

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

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

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

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

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

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Communication, Marketing and Media in BrazilSearch

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For over 30 years Meio & Mensagem has been the leading publication in the communication, marketing and media industry in Brazil. With a multiplatform operation, Meio & Mensagem is responsible for the most important events in the sector, as well as the leading weekly magazine and the most visited website in the industry. It also has a significant presence in mobile, radio and TV.This year, in Cannes, Meio & Mensagem is launching its Brazil Briefing special edition, describing the current Brazilian economic scenario and its impact in the communications industry. Sign up for free weekly newsletter at

www.meioemensagem.com.br/brazilbriefing

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CAT TITLE ADVERTISER PRODUCT ADVERTISING AGENCY PRODUCTION COMPANY COUNTRYSAVOURY FOODSA01/020 DOLLS CAMPOFRIO PAVOFRIO SLICED TURKEY MCCANN ERICKSON MADRID SOPA DE TORO MADRID SPAINA01/029 LEGENDARY ANGUS FOUR N TWENTY LEGENDARY ANGUS MEAT PIES CLEMENGER BBDO MELBOURNE PRODIGY MELBOURNE AUSTRALIAA01/050 HAPPY BIRTHDAY HEINZ SOUPS AMV.BBDO LONDON RATTLING STICK LONDON UKA01/051 CATS WITH THUMBS ARLA CRAVENDALE MILK WIEDEN+KENNEDY LONDON SMITH & JONES FILMS NORTH HOLLYWOOD/MPC LONDON UKA01/052 KITCHEN ODYSSEY ARLA LURPAK BUTTER WIEDEN+KENNEDY LONDON STINK/FRAMESTORE/THE MILL LONDON LONDON UKA01/081 PARTY KRAFT ATHENOS HUMMUS DROGA5 NEW YORK PARK PIC. NY/CENTRAL ATHENS FILM PROD USAA01/083 ‘I CAN’T BELIEVE IT’S NOT BUTTER’ UNILEVER I CAN’T BELIEVE IT’S NOT BUTTER MCCANN LONDON LONDON HSI LONDON UK

SWEET FOODS & SNACKSA02/001 TABITHA KRAFT WHEAT THINS THE ESCAPE POD CHICAGO SMUGGLER HOLLYWOOD USAA02/002 DEREK KRAFT WHEAT THINS THE ESCAPE POD CHICAGO STATION FILM NEW YORK USAA02/003 ADAM KRAFT WHEAT THINS THE ESCAPE POD CHICAGO STATION FILM NEW YORK USAA02/004 CHRIS KRAFT WHEAT THINS THE ESCAPE POD CHICAGO SMUGGLER HOLLYWOOD USAA02/076 ICE BOOTH WRIGLEY ECLIPSE INTENSE MINTS DDB SYDNEY FINCH SYDNEY AUSTRALIAA02/116 FOCUS GROUP MARS CHOCOLATE NORTH AMERICA SNICKERS PEANUT BUTTER SQUARED BBDO NEW YORK O POSITIVE FILMS NEW YORK USAA02/129 CELEBRATION WARBURTONS TOASTIE/FARMHOUSE BREAD RAINEY KELLY CAMPBELL ROALFE/Y&R LONDON GORGEOUS LONDON/PIONEER PRODUCTIONS BUDAPEST UKA02/130 LOGGING MARS CHOCOLATE NORTH AMERICA SNICKERS CHOCOLATE BAR BBDO NEW YORK O POSITIVE FILMS NEW YORK USAA02/131 PARTY MARS CHOCOLATE NORTH AMERICA SNICKERS CHOCOLATE BAR BBDO NEW YORK O POSITIVE FILMS NEW YORK USAA02/133 DOOR WRIGLEY SKITTLES SWEETS TBWA\CHIAT\DAY NEW YORK SMITH AND JONES LONDON USAA02/134 BORROW WRIGLEY SKITTLES SWEETS TBWA\CHIAT\DAY NEW YORK SMITH AND JONES LONDON USAA02/138 BUS WRIGLEY STARBURST SWEETS TBWA\CHIAT\DAY NEW YORK HUNGRY MAN NEW YORK USAA02/139 FIST WRIGLEY SKITTLES SWEETS TBWA\CHIAT\DAY NEW YORK SMITH AND JONES FILMS NORTH HOLLYWOOD USAA02/140 FLY WRIGLEY SKITTLES SWEETS TBWA\CHIAT\DAY NEW YORK SMITH AND JONES FILMS NORTH HOLLYWOOD USA

ALCOHOLIC DRINKSA03/002 TOAST MEN NIHON SHURUI HANBAI NICOLAS FEUILLATTE CHAMPAGNE DENTSU TOKYO DENTSU CREATIVE X TOKYO JAPANA03/005 DOG SHOW HEINEKEN JOHN SMITH’S TBWA\LONDON RATTLING STICK LONDON UKA03/017 CRY CARLTON UNITED BREWERIES VB BEER DROGA5 SYDNEY REVOLVER SYDNEY AUSTRALIAA03/033 ENTRANCE HEINEKEN HEINEKEN WIEDEN+KENNEDY AMSTERDAM SONNY LONDON NETHERLANDSA03/034 DATE HEINEKEN HEINEKEN WIEDEN+KENNEDY AMSTERDAM SONNY LONDON NETHERLANDSA03/035 SLOW THE PACE HEINEKEN UK KRONENBOURG 1664 BBH LONDON PULSE FILMS LONDON UKA03/047 SLO MO FOSTERS GROUP CARLTON DRAUGHT CLEMENGER BBDO MELBOURNE PLAZA FILMS SYDNEY AUSTRALIAA03/049 TORTOISE FOSTERS GROUP CARLTON NATURAL CLEMENGER BBDO MELBOURNE REVOLVER SYDNEY AUSTRALIAA03/054 PRESENTATION ANHEUSER-BUSCH INBEV NORTE BEER DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES PRIMO BUENOS AIRES ARGENTINAA03/055 DVD ANHEUSER-BUSCH INBEV NORTE BEER DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES PRIMO BUENOS AIRES ARGENTINAA03/064 BEER - THE UNTOLD STORY DB BREWERIES DB EXPORT BEER COLENSO BBDO AUCKLAND REVOLVER SYDNEY NEW ZEALANDA03/070 STRONGMAN MAGNERS MAGNERS GOLDEN DRAUGHT CIDER THE RED BRICK ROAD LONDON STINK LONDON/CHEROKEE FILMS AUCKLAND UKA03/071 BEES MAGNERS MAGNERS ORIGINAL CIDER THE RED BRICK ROAD LONDON STINK LONDON/CHEROKEE FILMS AUCKLAND UK

NON-ALCOHOLIC DRINKSA04/018 CUBEHEAD BRITVIC DRENCH DRINK CHI & PARTNERS LONDON SMITH AND JONES LONDON UKA04/035 SIEGE COCA-COLA COCA-COLA WIEDEN+KENNEDY PORTLAND NEXUS PRODUCTIONS LONDON UKA04/052 BRAIDS PEPSICO H2OH! DRINK BBDO ARGENTINA BUENOS AIRES ARGENTINACINE BUENOS AIRES ARGENTINAA04/060 BABY INSIDE EVIAN EVIAN BETC EURO RSCG PARIS WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX FRANCEA04/084 GO GO GO GLOBALBEV BEBIDAS E ALIMENTOS FLYING HORSE ENERGY DRINK OGILVY BRASIL SÃO PAULO PARANOIDBR SÃO PAULO BRAZIL

HOUSEHOLD: CLEANING PRODUCTSA05/015 SUSAN AND ERICA FEBREZE DEODORISING SPRAY GREY NEW YORK STATION FILM NEW YORK USAA05/016 RESTAURANT FEBREZE DEODORISING SPRAY GREY NEW YORK STATION FILM NEW YORK USAA05/018 HOTEL FEBREZE DEODORISING SPRAY GREY NEW YORK STATION FILM NEW YORK USAA05/026 SAUSAGEFLAN PROCTER & GAMBLE AYUDIN WASHING UP LIQUID GREY ARGENTINA BUENOS AIRES REBOLUCION BUENOS AIRES ARGENTINA

HOUSEHOLD: OTHERA06/017 3 IN 1 SELLEYS ADHESIVE, SEALANT & GAP FILLER BELGIOVANE WILLIAMS MACKAY ULTIMO GOODOIL FILMS SYDNEY AUSTRALIA

HOME APPLIANCES & FURNISHINGSA07/016 EXORCIST DIRT DEVIL CENTRINO CLEANCONTROL M2881 ANDREAS ROTH LUDWIGSBURG FILMAKADEMIE BADEN-WÜRTTEMBERG LUDWIGSBURG GERMANYA07/024 NOSE-O-METER BGH AIR CONDITIONERS DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES PELUCA FILMS BUENOS AIRES ARGENTINAA07/025 NOSE JOB BGH AIR CONDITIONERS DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES PELUCA FILMS BUENOS AIRES ARGENTINAA07/026 GIGANTIC NOSE BGH AIR CONDITIONERS DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES PELUCA FILMS BUENOS AIRES ARGENTINA

FRIDAY, JUNE 24,2011

16

SHORTLISTSHORTLIST

FILM

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CAT TITLE ADVERTISER PRODUCT ADVERTISING AGENCY PRODUCTION COMPANY COUNTRYA07/032 SANTEC PRISON SANYO VIDEO VERTRIEB SANTEC VIDEO SURVEILLANCE SERVICEPLAN MUNICH COBBLESTONE FILMPRODUCTION HAMBURG GERMANY

A07/035 MR. COCKTAIL CONFORAMA HOME FURNISHINGS DRAFTFCB LEVALLOIS-PERRET BANDITS PARIS FRANCE

A07/051 MOSQUITO STROY MASTER SOUNDPROOF WINDOWS BBDO RUSSIA GROUP MOSCOW BALL PARK MOSCOW RUSSIA

COSMETICS & BEAUTYA08/003 BOAT OLD SPICE BODY WASH WIEDEN+KENNEDY PORTLAND MJZ LOS ANGELES USA

A08/006 FLEX OLD SPICE ODOR BLOCKER BODY WASH WIEDEN+KENNEDY PORTLAND ABSOLUTELY PRODUCTIONS LONDON USA

A08/007 PUNCH OLD SPICE ODOR BLOCKER BODY WASH WIEDEN+KENNEDY PORTLAND ABSOLUTELY PRODUCTIONS LONDON USA

A08/008 ZOOM OLD SPICE ODOR BLOCKER BODY WASH WIEDEN+KENNEDY PORTLAND ABSOLUTELY PRODUCTIONS LONDON USA

A08/015 HAIRMOTICONS BRAUN SATIN HAIR 5 MULTISTYLER BBDO PROXIMITY DÜSSELDORF VCC PERFECT PICTURES /DAS WERK DÜSSELDORF GERMANY

A08/018 SHOWER LIKE A MAN CEDERROTH ASAN TRIPLE SHOWER GEL LOS & CO OSLO EINAR FILM & FORTELLINGER OSLO NORWAY

A08/021 DINER UNILEVER AXE RISE SHOWER GEL BBH NEW YORK B-REEL NEW YORK USA

A08/022 NOT FOR YOU PROCTER & GAMBLE HEAD & SHOULDERS SAATCHI & SAATCHI NEW YORK SUPPLY & DEMAND LOS ANGELES USA

A08/029 SCENT VACATION PROCTER & GAMBLE OLD SPICE WIEDEN+KENNEDY PORTLAND MJZ LOS ANGELES USA

A08/039 ZIPPER UNILEVER AXE EX-FRIEND BODY SPRAY PONCE BUENOS AIRES EPOCH FILMS BEVERLY HILLS ARGENTINA

A08/040 PREMATURE PERSPIRATION UNILEVER AXE FULL CONTROL PONCE BUENOS AIRES PRIMO BUENOS AIRES ARGENTINA

A08/041 DISTANCE UNILEVER AXE FULL CONTROL PONCE BUENOS AIRES PRIMO BUENOS AIRES ARGENTINA

A08/042 BOWLING UNILEVER AXE FULL CONTROL PONCE BUENOS AIRES PRIMO BUENOS AIRES ARGENTINA

A08/043 MOTHER UNILEVER AXE FULL CONTROL PONCE BUENOS AIRES PRIMO BUENOS AIRES ARGENTINA

A08/051 AXE ANGELS AXE EXCITE BODY SPRAY BBH LONDON MJZ LONDON UK

A08/055 QUESTIONS OLD SPICE BODY WASH WIEDEN+KENNEDY PORTLAND MJZ LOS ANGELES USA

TOILETRIESA09/017 CARPET NOHAIR VEREINTE LASER PERMANENT HAIR REMOVAL EURO RSCG DÜSSELDORF ELEMENT E HAMBURG GERMANY

A09/028 SOIREE KIMBERLY-CLARK HUGGIES LITTLE MOVERS DIAPERS JWT NEW YORK MJZ NEW YORK USA

A09/031 SHARK PROCTER & GAMBLE GILLETTE FUSION PROGLIDE RAZOR BBDO NEW YORK SUPPLY & DEMAND NEW YORK USA

PHARMACYA10/005 HIGH SCHOOL FAMILIPRIX PHARMACY LG2 QUÉBEC QUATRE ZERO UN MONTRÉAL CANADA

A10/027 BOWLING PFIZER CANADA VIAGRA TAXI TORONTO GO FILM HOLLYWOOD/STEAM FILMS TORONTO CANADA

A10/028 GOLF PFIZER CANADA VIAGRA TAXI TORONTO GO FILM HOLLYWOOD/STEAM FILMS TORONTO CANADA

A10/029 BAND PFIZER CANADA VIAGRA TAXI TORONTO GO FILM HOLLYWOOD/STEAM FILMS TORONTO CANADA

A10/032 TENNIS BAYER FITOSONNO SLEEPING TABLETS JWT ITALIA MILAN DIAVIVA REGGIO EMILIA ITALY

A10/036 SENSITIVE ARMPITS UNILEVER REXONA SENSITIVE PONCE BUENOS AIRES HUNGRY MAN NEW YORK ARGENTINA

A10/041 CLASSROOM CRAFT NOVARTIS CONSUMER HEALTH OTRIVIN NASAL SPRAY SAATCHI & SAATCHI CAROUGE THE SWEET SHOP AUCKLAND SWITZERLAND

A10/042 SHOE LACES NOVARTIS CONSUMER HEALTH OTRIVIN NASAL SPRAY SAATCHI & SAATCHI CAROUGE THE SWEET SHOP AUCKLAND SWITZERLAND

A10/046 SANDWICH JOHNSON & JOHNSON BRAZIL K-Y BORGHIERH/LOWE SÃO PAULO SAGAZ FILMES SÃO PAULO BRAZIL

CLOTHING, FOOTWEAR & ACCESSORIESA11/002 WOLVES CARHARTT CLOTHING TEAM DETROIT THE DIRECTORS BUREAU HOLLYWOOD USA

A11/012 THROWDOWN NIKE FREE RUNNING AND TRAINING FOOTWEAR WIEDEN+KENNEDY PORTLAND RSA FILMS LOS ANGELES USA

A11/018 WRITE THE FUTURE NIKE NIKE FOOTBALL WIEDEN+KENNEDY AMSTERDAM INDEPENDENT LONDON NETHERLANDS

A11/032 BOOM NIKE NIKE WIEDEN+KENNEDY PORTLAND SMUGGLER HOLLYWOOD USA

A11/051 AFTER HOURS ATHLETE PUMA PUMA SOCIAL CLOTHING DROGA5 NEW YORK SMUGGLER NEW YORK USA

MISCELLANEOUSA12/005 GORIGON SCRIBE SKETCH BOOKS BBDO MEXICO METRO PRODUCCIONES MEXICO CITY MEXICO

A12/016 LICKS YARRAH ORGANIC PET FOOD PUBLICIS BRUSSELS MINDBOX ANTWERP BELGIUM

A12/020 LOVE DECLARATION BIC AMAZONIA CRISTAL PEN BORGHIERH/LOWE SÃO PAULO DINAMO FILMES SÃO PAULO BRAZIL

19

FRIDAY, JUNE 24,2011

FILM SHORTLIST

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

juicefilm.tv

mmmm, delicious juice!

production service south africa

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CAT TITLE ADVERTISER PRODUCT ADVERTISING AGENCY PRODUCTION COMPANY COUNTRYCARSA13/016 MADE OF MEANER STUFF SKODA FABIA VRS FALLON LONDON SOMESUCH & CO LONDON UKA13/026 GOODNIGHT AUDI OF AMERICA AUDI A8 VENABLES BELL & PARTNERS SAN FRANCISCO EPOCH FILMS BEVERLY HILLS/RATTLING STICK NY/FRAMESTORE LONDON USAA13/035 FLOW MINI/BMW MINI COUNTRYMAN BSUR AGENCY AMSTERDAM SMUGGLER HOLLYWOOD NETHERLANDSA13/036 SUNDAY DRIVER DAIMLER MERCEDES-BENZ JUNG VON MATT STUTTGART @RADICAL.MEDIA BERLIN GERMANYA13/054 COUNTRY SONATA HYBRID HYUNDAI AUTO CANADA SONATA HYBRID INNOCEAN WORLDWIDE CANADA TORONTO RADKE FILM GROUP TORONTO CANADAA13/060 MOUNTAINBIKE HARALD A. MØLLER AUDI Q5 BATES UNITED OSLO FREDRIK FICTION OSLO/VIVI FILM BARCELONA NORWAYA13/070 FORCE VOLKSWAGEN VW PASSAT DEUTSCH INC. LOS ANGELES PARK PICTURES SANTA MONICA USAA13/101 WORD VOLKSWAGEN VOLKSWAGEN DDB SYDNEY REVOLVER SYDNEY AUSTRALIAA13/103 MILK RUN VOLKSWAGEN VW DDB GROUP NEW ZEALAND AUCKLAND ROBBERS DOG FILM AUCKLAND NEW ZEALANDA13/116 BORN OF FIRE CHRYSLER CHRYSLER 200 WIEDEN+KENNEDY PORTLAND SERIAL PICTURES CULVER CITY USAA13/117 CHALLENGER FREEDOM DODGE DODGE CHALLENGER WIEDEN+KENNEDY PORTLAND BISCUIT FILMWORKS LOS ANGELES USAA13/126 DIRTY COPS LAND ROVER LR4 Y&R NEW YORK O POSITIVE FILMS NEW YORK USAA13/153 OLD LADY PON’S AUTOMOBIELHANDEL VW GOLF DDB AMSTERDAM CZAR.NL AMSTERDAM NETHERLANDSA13/161 TRANSLATOR VOLKSWAGEN TIGUAN ALMAPBBDO SÃO PAULO FAT BASTARDS SÃO PAULO/MOVIEART SÃO PAOLO BRAZILA13/162 CHANGE ROOMS VOLKSWAGEN VW PASSAT DDB SYDNEY THE SWEET SHOP SYDNEY AUSTRALIAA13/207 ELECTRIC LIFE RENAULT ZE PUBLICIS CONSEIL PARIS NOSE SAINT-CLOUD FRANCEA13/208 PATHOLOGICAL LIAR LAND ROVER LAND ROVER LR4 Y&R NEW YORK O POSITIVE FILMS NEW YORK USA

OTHER VEHICLES, AUTO PRODUCTS & SERVICESA14/028 I LOVE YOU VOLKSWAGEN ORIGINAL PARTS ALMAPBBDO SÃO PAULO VETOR ZERO/LOBO SÃO PAULO BRAZILA14/029 BOSS VOLKSWAGEN ORIGINAL PARTS ALMAPBBDO SÃO PAULO VETOR ZERO/LOBO SÃO PAULO BRAZILA14/030 SON, YOU’RE ADORABLE VOLKSWAGEN ORIGINAL PARTS ALMAPBBDO SÃO PAULO VETOR ZERO/LOBO SÃO PAULO BRAZILA14/031 IT´S NOT YOU VOLKSWAGEN ORIGINAL PARTS ALMAPBBDO SÃO PAULO VETOR ZERO/LOBO SÃO PAULO BRAZILA14/034 PARTY CAR ONE USED CARS LEO BURNETT ARGENTINA BUENOS AIRES URSULA BUENOS AIRES ARGENTINAA14/035 LOVE STORY CAR ONE USED CARS LEO BURNETT ARGENTINA BUENOS AIRES URSULA BUENOS AIRES ARGENTINA

HOME ELECTRONICS & AUDIO-VISUALA15/032 NO EXPERT PANASONIC G2-DIGITAL CAMERA THE CAMPAIGN PALACE SYDNEY PRODIGY SYDNEY AUSTRALIAA15/035 EINSTEIN SONY CYBER-SHOT DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES GARLIC FILMS MADRID ARGENTINAA15/036 MARILYN SONY CYBER-SHOT DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES GARLIC FILMS MADRID ARGENTINAA15/038 REALLY MICROSOFT WINDOWS PHONE 7 CRISPIN PORTER + BOGUSKY BOULDER IMPERIAL WOODPECKER SANTA MONICA USAA15/040 KEVIN BACON FAN LOGITECH LOGITECH REVUE WITH GOOGLE TV GOODBY SILVERSTEIN & PARTNERS SAN FRANCISCO SMUGGLER HOLLYWOOD USAA15/061 THEFT TOSHIBA ULTRA LED TV TALENT SÃO PAULO PRODIGO FILMS SÃO PAULO BRAZIL

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CAT TITLE ADVERTISER PRODUCT ADVERTISING AGENCY PRODUCTION COMPANY COUNTRYRETAIL STORESA16/011 THE-HI-SWEETIE-UNCLE-BOB-IS-GOING-TO… IKEA HOME FURNISHING HJALTELIN STAHL & CO. COPENHAGEN PEGASUS PRODUCTION COPENHAGEN DENMARKA16/039 ANTI-RIOT SQUAD DE BIJENKORF DEPARTMENT STORE SELMORE CREATIVE AGENCY AMSTERDAM CZAR.NL AMSTERDAM NETHERLANDSA16/066 WHITE HORSE INTERFLORA GIFTS AND FLOWERS BRANDHOUSE COPENHAGEN MOLAND FILM COMPANY COPENHAGEN DENMARKA16/068 TELEMARKETER NETTO SUPERMARKET CHAIN BRANDHOUSE COPENHAGEN TRESHOW FILMPRODUCTION NAERUM DENMARKA16/077 EYE DROPS RICHMOND OPTOMETRY OPTOMETRY RED URBAN TORONTO UNTITLED FILMS TORONTO CANADAA16/078 BUCK RICHMOND OPTOMETRY OPTOMETRY RED URBAN TORONTO UNTITLED FILMS TORONTO CANADAA16/079 HOSE RICHMOND OPTOMETRY OPTOMETRY RED URBAN TORONTO UNTITLED FILMS TORONTO CANADAA16/087 MUMS DEBENHAMS DEPARTMENT STORE JWT LONDON LONDON BARE FILMS LONDON UKA16/107 YAY GAMESTOP RETAIL STORE THE RICHARDS GROUP DALLAS HUNGRY MAN NEW YORK USAA16/117 BALLROOM RUAM CHAROEN PATTANA CO. TOP CHAROEN OPTICAL STORE JWT BANGKOK PHENOMENA BANGKOK THAILANDA16/119 CHAIN MAIL EXCLUSIVE BOOKS E MAIL FOR DUMMIES OGILVY JOHANNESBURG JUMP CAPE TOWN SOUTH AFRICA

RESTAURANTS & FAST FOOD OUTLETSA17/028 BIRDS LEGAL SEA FOODS RESTAURANT DEVITO/VERDI NEW YORK USAA17/033 PACKAGE MCDONALD’S MCDONALD’S DDB TRIBAL GR. BERLIN/HEYE & PART. UNTERHACHING HAGER MOSS /ARRI FILM & TV SERV. MUNICH GERMANYA17/050 RETURN OF THE CRAVING CHICKEN LICKEN HOT WINGS NET#WORK BBDO JOHANNESBURG VELOCITY FILMS CAPE TOWN SOUTH AFRICA

TRAVEL, TRANSPORT & TOURISMA18/026 THE 250KM WAVE KYUSHU RAILWAY COMPANY BULLET TRAIN DENTSU TOKYO ENGINE FILM TOKYO/T & E FUKUOKA JAPANA18/027 WHOEVER YOU ARE NETTBUSS BUS TRAVEL LOS & CO OSLO SOCIAL CLUB STOCKHOLM NORWAYA18/028 ROCKSTAR SERVICE VIRGIN HOLIDAYS VIRGIN TRAVEL DARE LONDON PARTIZAN LONDON UKA18/043 TOUGH QUESTIONS VEGAS CONVENT. & VISITORS AUTHORITY LAS VEGAS TOURISM R&R PARTNERS LAS VEGAS FUELD FILMS AUSTIN USAA18/046 CHANGES SHANGRI-LA TRAVEL AGENCY AGÊNCIA3 RIO DE JANEIRO KOMBAT FILMS RIO DE JANEIRO BRAZILA18/055 SWITZERLAND - MORE THAN MOUNTAINS SWITZERLAND TOURISM TOURISM & TRAVEL SPILLMANN/FELSER/LEO BURNETT ZÜRICH CONDOR FILMS ZÜRICH SWITZERLANDA18/065 FRANK KAYAK.COM TRAVEL SITE BARTON F. GRAF 9000 NEW YORK STATION FILM NEW YORK USA

ENTERTAINMENT & LEISUREA19/063 APPLICATION PLANET FITNESS GYM MULLEN BOSTON HUNGRY MAN LOS ANGELES USAA19/065 LIFT THINGS UP PLANET FITNESS GYM MULLEN BOSTON HUNGRY MAN LOS ANGELES USAA19/104 VICTOR SONY PLAYSTATION DEL CAMPO NAZCA SAATCHI BUENOS AIRES GARLIC FILMS MADRID ARGENTINAA19/106 PROPOSAL TRISS LOTTERIES FORSMAN & BODENFORS STOCKHOLM ACNE PRODUCTION STOCKHOLM SWEDENA19/107 PROPOSAL 2 TRISS LOTTERIES FORSMAN & BODENFORS GOTHENBURG ACNE PRODUCTION STOCKHOLM SWEDENA19/108 YOUR MOM HATES DEAD SPACE 2 ELECTRONIC ARTS DEAD SPACE 2 GAME DRAFTFCB SAN FRANCISCO GOON MEDIA LOS ANGELES USAA19/109 THERE IS A SOLDIER IN ALL OF US ACTIVISION CALL OF DUTY BLACK OPS TBWA\CHIAT\DAY LA LOS ANGELES MJZ LOS ANGELES USAA19/117 LUCKY DOG NEW ZEALAND LOTTERIES LOTTERY DDB GROUP NEW ZEALAND AUCKLAND THE SWEET SHOP AUCKLAND NEW ZEALANDA19/125 WRITER’S BLOCK MELBOURNE WRITERS FESTIVAL ARTS JWT MELBOURNE PLUSH FILMS /FLAGSTAFF /DIGITAL PIC. MELBOURNE AUSTRALIAA19/131 LINEUP CONSULATE GENERAL ARGENTINA IN LA NEW CINEMA FILM FESTIVAL CONILL SAATCHI & SAATCHI TORRANCE PARANA FILMS LOS ANGELES USAA19/132 HUGS NBA END OF 2010 NBA SEASON GOODBY SILVERSTEIN & PARTNERS S. FRANCISCO GOODBY SILVERSTEIN & PARTNERS S. FRANCISCO USAA19/145 LANE 1 (THE DAI-ICHI COURSE) DAIICHI SHOKAI PINBALL MACHINES ADK JAPAN TOKYO TYO PRODUCTIONS TOKYO/MONSTER TOKYO JAPANA19/149 BLOCK PROJECT MATTEL FRANCE SCRABBLE OGILVY FRANCE PARIS PARANOID PROJECTS PARIS FRANCEA19/173 HAKA PMU ONLINE SPORTS BETTING PUBLICIS CONSEIL PARIS MJZ LOS ANGELES FRANCEA19/174 TENNIS PMU ONLINE SPORTS BETTING PUBLICIS CONSEIL PARIS MJZ LOS ANGELES FRANCE

PUBLICATIONS & MEDIAA20/006 INTERVIEW TV GUIDE NETWORK CURB YOUR ENTHUSIASM LAUNCH STUN CREATIVE LOS ANGELES STUN CREATIVE LOS ANGELES USAA20/014 JOCKS ESPN SPORTS CHANNEL WIEDEN+KENNEDY NEW YORK EPOCH FILMS NEW YORK USAA20/015 ALOHA ALABAMA ESPN SPORTS CHANNEL WIEDEN+KENNEDY NEW YORK EPOCH FILMS NEW YORK USAA20/019 SPY - OVECHKIN ESPN SPORTSCENTER WIEDEN+KENNEDY NEW YORK O POSITIVE FILMS NEW YORK USAA20/020 OCTAGON - ST. PIERRE ESPN SPORTSCENTER WIEDEN+KENNEDY NEW YORK O POSITIVE FILMS NEW YORK USAA20/021 COPIER - LANDON DONOVAN ESPN SPORTSCENTER WIEDEN+KENNEDY NEW YORK O POSITIVE FILMS NEW YORK USAA20/032 GIRL 1 AMOUR ADULT TV CHANNEL DARE VANCOUVER IMPORT. ARTISTS FILM COMP. TORONTO/GREEN DOT FILMS S. MONICA CANADAA20/034 HOT TUB AMOUR ADULT TV CHANNEL DARE VANCOUVER IMPORT. ARTISTS FILM COMP. TORONTO/GREEN DOT FILMS S. MONICA CANADA

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CAT TITLE ADVERTISER PRODUCT ADVERTISING AGENCY PRODUCTION COMPANY COUNTRYA20/035 SHAKESPEARE AMOUR ADULT ENTERTAINMENT DARE VANCOUVER IMPORT. ARTISTS FILM COMP. TORONTO/GREEN DOT FILMS S. MONICA CANADAA20/052 BEST DIRECTING CANAL+ OSCARS CEREMONY COVERAGE EL LABORATORIO MADRID VERTICE 360 MADRID SPAINA20/053 BEST ACTRESS IN A SUPPORTING ROLE CANAL+ OSCARS CEREMONY COVERAGE EL LABORATORIO MADRID VERTICE 360 MADRID SPAINA20/093 IPHONE CANAL + TV CHANNEL BETC EURO RSCG PARIS MOONWALK FILMS PARIS FRANCEA20/107 TEAM HOYT TV3 SPINAL CORD & BRAIN INJURY TELETHON BASSAT OGILVY BARCELONA OVIDEO BARCELONA SPAINA20/113 DEVIL’S DROP TBS CONAN HUNGRY MAN NEW YORK USAA20/136 BALLOONS MTV MTV LODUCCA SAO PAULO PARANOIDBR SÃO PAULO/RAW PROD.DE AUDIO SÃO PAULO BRAZILA20/153 YACHT HBO HBO GO BBDO NEW YORK MJZ NEW YORK USAA20/154 UNDERDOG HBO HBO GO BBDO NEW YORK MJZ NEW YORK USAA20/155 HOSPITAL HBO HBO GO BBDO NEW YORK MJZ NEW YORK USAA20/156 BIRDS FRANCE 24 INTERNATIONAL NEWS NETWORK MARCEL PARIS MR HYDE PARIS FRANCE

BANKING, INVESTMENT & INSURANCEA21/022 COUGH FIRSTBANK BANK TDA_BOULDER BOULDER MJZ LOS ANGELES USAA21/039 ONE BIG THING HBF HEALTH INSURANCE MEERKATS PERTH FLYING FISH SYDNEY AUSTRALIAA21/040 MOTORCYCLE CFG SERVICES SRISAWAD TRANSPORT LOAN GENESIS 12 BANGKOK PHENOMENA BANGKOK THAILANDA21/041 TRUCK CFG SERVICES SRISAWAD TRANSPORT LOAN CFG SERVICES BANGKOK PHENOMENA BANGKOK THAILANDA21/042 BIRD IN HAND GEICO INSURANCE THE MARTIN AGENCY RICHMOND MOXIE PICTURES LOS ANGELES USAA21/043 HONEST ABE GEICO INSURANCE THE MARTIN AGENCY RICHMOND MOXIE PICTURES LOS ANGELES USAA21/045 DREAM RANGER TA CHONG BANK BANK OGILVY & MATHER TAIWAN TAIPEI PHENOMENA BANGKOK CHINESE TAIPEIA21/048 HEARTS FINANCIÉRE DE L’ÉCHIQUIER ASSET MANAGEMENT MARCEL PARIS WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX FRANCEA21/058 LAWN GAME ALLSTATE INSURANCE LEO BURNETT CHICAGO EPOCH FILMS BEVERLY HILLS/MASSMARKET NY/ANOTHER COUNTRY CHICAGO USAA21/059 TEEN DRIVER ALLSTATE INSURANCE LEO BURNETT CHICAGO EPOCH FILMS BEVERLY HILLS/MASSMARKET NY/ANOTHER COUNTRY CHICAGO USAA21/073 ROOF MORE TH>N HOME INSURANCE STEPHENS FRANCIS WHITSON LONDON ACADEMY LONDON UKA21/074 WHEEL MORE TH>N CAR INSURANCE STEPHENS FRANCIS WHITSON LONDON ACADEMY LONDON UKA21/080 CONAN - INDIA AMERICAN EXPRESS AMERICAN EXPRESS OGILVY & MATHER NEW YORK HUNGRY MAN NEW YORK USAA21/106 FOR EVERY BREATH MEDIBANK HEALTH INSURANCE GEORGE PATTERSON Y&R MELBOURNE EXIT FILMS MELBOURNE AUSTRALIAA21/108 SURPRISE COMMERZBANK/BANK FORUM BANKING OGILVY&MATHER KIEV/OGILVY&MATHER BUDAPEST FEEL FILMS LONDON/SAUNA INTERNATIONAL LONDON UKRAINEA21/126 PICNIC CENTRAAL BEHEER ACHMEA INSURANCE DDB AMSTERDAM CZAR.NL AMSTERDAM NETHERLANDSA21/133 OFFICE MEXICAN INSURANCE INSTIT. ASSO. AMIS INSURANCE OGILVY MEXICO CENTRAL FILMS MEXICO CITY MEXICO

BUSINESS EQUIPMENT & SERVICESA22/007 HEIST SYMANTEC NORTON INTERNET SECURITY LEO BURNETT/ARC WORLDWIDE CHICAGO HSI PROD. CULVER CITY/HUMAN S. MONICA/ANOTHER COUNTRY CHICAGO USAA22/024 CHANGE FEDEX NON-RUSH SHIPPING BBDO CANADA TORONTO OPC TORONTO/PROXIMITY CANADA CANADAA22/040 JOHN MALKOVICH KARLOVY VARY INTERNAT. FILM FEST. FILM AWARDS FESTIVAL KARLOVY VARY PRAGUE STINK LONDON UKA22/044 EXCHANGE STUDENT FEDEX FEDEX BBDO NEW YORK O POSITIVE FILMS NEW YORK USAA22/047 TRAILER IDFA INTERNAT. DOC. FESTIVAL AMSTERDAM TBWA\NEBOKO AMSTERDAM 25FPS AMSTERDAM NETHERLANDS

COMMERCIAL PUBLIC SERVICESA23/006 XYLOPHONE NTT DOCOMO MOBILE PHONE DRILL TOKYO/DENTSU TOKYO ENGINE PLUS TOKYO/DRAWING AND MANUAL TOKYO JAPANA23/106 CHROME SPEED TESTS... GOOGLE CHROME BROWSER BBH NY/GOOGLE CREATIVE LAB NY FIRST AVE MACHINE NEW YORK USAA23/108 PHOTOGENIC FIBERTEL INTERNET SERVICE DON BUENOS AIRES EL BAGRE FILMS BUENOS AIRES ARGENTINAA23/111 LOVE MATCH DIRECTV SATELLITE TV GREY NEW YORK MJZ LOS ANGELES/MPC LOS ANGELES USAA23/113 ROBOTS DIRECTV SATELLITE TV GREY NEW YORK MJZ LOS ANGELES/MPC LOS ANGELES USAA23/119 TEEN SPIRIT CLARO ARGENTINA CLARO SMARTPHONES BBDO ARGENTINA BUENOS AIRES POSTER FILMS BUENOS AIRES ARGENTINAA23/152 SUBTITLES ENG. LANGUAGE INSTIT.: ENG. EXCELLENCE LANGUAGE CLASS OGILVY PERU LIMA OGILVY PERU LIMA PERUA23/165 WELCOME BACK T-MOBILE TELECOMMUNICATIONS SAATCHI & SAATCHI LONDON SMUGGLER LONDON UKA23/193 BEDROOM EMBRATEL EMBRATEL ALMAPBBDO SÃO PAULO LUX FILMES SÃO PAULO BRAZILA23/221 BABELFISH TRANSLATES PORTUGUESE BERLITZ LANGUAGE CENTER BERLITZ LANGUAGE CENTER MEMAC OGILVY & MATHER DUBAI DEJAVU STUDIOZ DUBAI UAEA23/222 GOOGLE TRANSLATES JAPANESE BERLITZ LANGUAGE CENTER BERLITZ LANGUAGE CENTER MEMAC OGILVY & MATHER DUBAI DEJAVU STUDIOZ DUBAI UAEA23/227 ENDLESS GOODBYE BHARTI AIRTEL VIDEO CALL SERVICE JWT GURGAON INDEPENDENT LONDON INDIAA23/228 FUNNY EMAIL AT&T AT&T BBDO NEW YORK SMUGGLER NEW YORK USAA23/237 GOOGLE INSTANT WITH BOB DYLAN GOOGLE GOOGLE INSTANT SEARCH JOHANNES LEONARDO NEW YORK LOST PLANET NEW YORK USA

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CAT TITLE ADVERTISER PRODUCT ADVERTISING AGENCY PRODUCTION COMPANY COUNTRYA23/257 HOT HOUSE DIRECTV SATELLITE TV GREY NEW YORK BISCUIT FILMWORKS LOS ANGELES/MPC LOS ANGELES USAA23/262 GLADIATOR TTNET IPTV TIVIBU DUBBED FILMS TBWA\ISTANBUL IMAJ ISTANBUL TURKEYA23/263 LETHAL WEAPON 3 TTNET IPTV TIVIBU DUBBED FILMS TBWA\ISTANBUL IMAJ ISTANBUL TURKEYA23/269 DADDY WWW.JECHANGE.FR PRICE COMPARISON WEBSITE PUBLICIS CONSEIL PARIS LES TÉLÉCRÉATEURS PARIS FRANCEA23/270 ENERGY TELEFÎNICA MOVISTAR IMAGENIO MCCANN ERICKSON MADRID INGRAVITTO BARCELONA SPAIN

CORPORATE IMAGEA24/001 ALIEN FIELD TRIP KRAFT LUNCHABLES - SPONSORED FIELD TRIPS THE ESCAPE POD CHICAGO SMUGGLER HOLLYWOOD USAA24/022 CHOIR COCA-COLA CULTURAL RELEVANCE SANTO BUENOS AIRES BLUE BUENOS AIRES ARGENTINAA24/028 SHINE NIKE NIKE SPORTSWEAR VILLARROSÀS BARCELONA TESAURO MADRID SPAINA24/060 COMEBACK GM GENERAL MOTORS GOODBY SILVERSTEIN & PART. SAN FRANCISCO EFILMS SAN FRANCISCO USAA24/076 RISE NIKE LEBRON JAMES’ IMAGE & BASKETBALL FOOTWEAR WIEDEN+KENNEDY PORTLAND IMPERIAL WOODPECKER NEW YORK USAA24/102 FACTS URUGUAY ALPARGATAS RUGBY SPONSORSHIP TALENT SÃO PAULO TOCA DOS FILMES SÃO PAULO BRAZILA24/112 POND FEDEX FEDEX CUP GOLF SWEEPSTAKES BBDO NEW YORK BISCUIT FILMWORKS LOS ANGELES USAA24/116 SILENT NAT. ANTHEM RELIANCE MEDIA WORKS CINEMAS MUDRA COMMUNICATIONS MUMBAI CHROME PICTURES MUMBAI INDIAA24/119 NAME GAME JOHNSON & JOHNSON NURSING SUPPORT BBDO NEW YORK MJZ NEW YORK USAA24/120 CHARM JOHNSON & JOHNSON NURSING SUPPORT BBDO NEW YORK MJZ NEW YORK USAA24/121 OPEN WINDOW JOHNSON & JOHNSON NURSING SUPPORT BBDO NEW YORK MJZ NEW YORK USAA24/123 HUSSARS ORANGE CINEDAY PUBLICIS CONSEIL PARIS PARTIZAN PARIS FRANCE

PUBLIC HEALTH & SAFETYA26/006 STOP ME LEGACY FOR HEALTH ANTI-SMOKING AWARENESS ARNOLD WORLDWIDE BOSTON SMUGGLER NEW YORK USAA26/007 OFFER LEGACY FOR HEALTH ANTI-SMOKING AWARENESS ARNOLD WORLDWIDE BOSTON SMUGGLER NEW YORK USAA26/020 REACTIONS TIME TO CHANGE MENTAL HEALTH DISCRIMINAT. AWARENESS DARE LONDON BLINK PRODUCTIONS LONDON UKA26/027 BEDROOM DRUGFREE.ORG ANTI-DRUGS AWARENESS ENERGY BBDO CHICAGO ANONYM. CONTENT/ROCK PAPER SCISSORS /WHITEHOUSE CHICAGO USAA26/028 KITCHEN DRUGFREE.COM ANTI-DRUGS AWARENESS ENERGY BBDO CHICAGO ANONYM. CONTENT/ROCK PAPER SCISSORS /WHITEHOUSE CHICAGO USAA26/042 DRUNKEN ESCAPADES IQ ALCOHOL ADDICTION AWARENESS FORSMAN & BODENFORS STOCKHOLM BACON COPENHAGEN SWEDENA26/044 ANONYMOUS TORONTO CRIME STOPPERS CRIME PREVENTION ORGANISATION DDB CANADA/TORONTO UNTITLED FILMS TORONTO CANADAA26/049 SMUTLEY AIDES AIDS AWARENESS GOODBY SILVERSTEIN & PART. S. FRANCISCO PASSION PICTURES LONDON USAA26/058 LOVE TO MEET YOU BRANDHOUSE BRANDHOUSE DRIVE DRY INITIATIVE FOXP2 CAPE TOWN GIANT FILMS CAPE TOWN SOUTH AFRICAA26/060 CLEVER DICK AIDES AIDS AWARENESS TBWA\PARIS CARNIBIRD PARIS/\ELSE BOULOGNE-BILLANCOURT FRANCE

PUBLIC AWARENESS MESSAGESA27/001 FATHER & SON MINIS. OF COM. DEVELOP./NAT. FAMILY COUNCILFILIAL PIETY LEO BURNETT GROUP SINGAPORE MOVIOLA SINGAPORE SINGAPOREA27/021 FAMILY UNICEF UNICEF LOWE INDONESIA SQUARE BOX CINETECH JAKARTA/CINERED JAKARTA INDONESIAA27/022 KIDS UNICEF UNICEF LOWE INDONESIA SQUARE BOX CINETECH JAKARTA/CINERED JAKARTA INDONESIAA27/023 KITCHEN UNICEF UNICEF LOWE INDONESIA SQUARE BOX CINETECH JAKARTA/CINERED JAKARTA INDONESIAA27/038 3 GENERATIONS FONDATION POUR L’ENFANCE CHILD ABUSE AWARENESS PUBLICIS CONSEIL PARIS STINK PARIS FRANCEA27/048 WHO KILLED DEON THE LONDON METROPOLITAN POLICE ANTI KNIFE CRIME ABBOTT MEAD VICKERS BBDO LONDON MAD COW FILMS LONDON UKA27/066 SEE THE PERSON SCOPE DISABILITY AWARENESS LEO BURNETT MELBOURNE THE POUND MELBOURNE AUSTRALIAA27/073 BLACK TAPE PARENTAL CONTROL PARENTAL INTERNET CONTROL AWARENESS LATINWORKS AUSTIN BEAST AUSTIN USAA27/091 MARKED FOR LIFE SIRE AWARENESS FOR CHILDREN IN DIVORCE 180 AMSTERDAM PARTIZAN LONDON NETHERLANDS

FUNDRAISING & APPEALSA28/031 EARTHQUAKE MULTIPLE SCLEROSIS SOCIETY ROMANIA DONATION APPEAL SAATCHI & SAATCHI ROMANIA BUCHAREST PIMP FILM BRIGHTON/CHAINSAW EUROPE BUCHAREST ROMANIAA28/041 THE GUIDE DOG INTERVIEWS GUIDE DOGS NSW ACT CHARITY THREE DRUNK MONKEYS SYDNEY CURIOUS FILM SYDNEY AUSTRALIAA28/051 THREADS WWF WWF OGILVY MEXICO TROUBLEMAKERS.TV PARIS MEXICOA28/058 WAKING UP NEIGHBOURHOOD POWA FEMALE ABUSE PREVENTION OGILVY JOHANNESBURG FRIEZE FILMS JOHANNESBURG SOUTH AFRICAA28/062 JUMBLED THE AVRIL ELIZABETH HOME THE AVRIL ELIZABETH HOME JWT JOHANNESBURG BOUFFANT JOHANNESBURG SOUTH AFRICA

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CAT TITLE ADVERTISER PRODUCT ADVERTISING AGENCY PRODUCTION COMPANY COUNTRYINTERNET FILMB01/004 DEAD ISLAND TRAILER DEEP SILVER VIDEOGAME DEEP SILVER PLANEGG MUNCHEN AXIS ANIMATION GLASGOW/SAVALAS GLASGOW GERMANYB01/043 THE CHASE INTEL CORPORATION 2ND GENERATION INTEL CORE I5 PROCESSER VENABLES BELL & PART. SAN FRANCISCO NEXUS PRODUCTIONS LONDON USAB01/074 KENNY GETS SIGNED K-SWISS SPORTS FOOTWEAR 72ANDSUNNY LOS ANGELES CAVIAR LA LOS ANGELES USAB01/107 HISTORY OF THE ISLAND DIESEL CLOTHING COLLECTION SANTO BUENOS AIRES STINK DIGITAL LONDON/LANDIA BUENOS AIRES ARGENTINAB01/108 ANTHEM DIESEL CLOTHING COLLECTION SANTO BUENOS AIRES STINK DIGITAL LONDON/LANDIA BUENOS AIRES ARGENTINAB01/111 LULLABY DIESEL CLOTHING COLLECTION SANTO BUENOS AIRES STINK DIGITAL LONDON/LANDIA BUENOS AIRES ARGENTINAB01/173 BLADE MENTOS MENTOS SWEETS THE MARTIN AGENCY RICHMOND @RADICAL.MEDIA NEW YORK USAB01/174 COBRA MENTOS MENTOS SWEETS THE MARTIN AGENCY RICHMOND @RADICAL.MEDIA NEW YORK USAB01/247 PINK PONIES JOHN ST. AGENCY PROMOTION JOHN ST TORONTO SONS AND DAUGHTERS TORONTO CANADAB01/260 CAGE COP WRIGLEY SKITTLES BBDO CANADA TORONTO OPC TORONTO/PROXIMITY CANADA CANADAB01/261 WAR FINGERS WRIGLEY SKITTLES BBDO CANADA TORONTO OPC TORONTO/PROXIMITY CANADA CANADAB01/262 HITCHHIKER WRIGLEY SKITTLES BBDO CANADA TORONTO OPC TORONTO/PROXIMITY CANADA CANADAB01/263 CAT WRIGLEY SKITTLES BBDO CANADA TORONTO OPC TORONTO/PROXIMITY CANADA CANADAB01/264 SKITTLES GIRL WRIGLEY SKITTLES BBDO CANADA TORONTO OPC TORONTO/PROXIMITY CANADA CANADAB01/268 CHROME SPEED TESTS GOOGLE CHROME BROWSER BBH NY/GOOGLE CREATIVE LAB NY FIRST AVE MACHINE NEW YORK USAB01/269 CLEANS YOUR BALLS PRESS CONFERENCE UNILEVER AXE DETAILER BBH NEW YORK HSI PRODUCTIONS CULVER CITY USAB01/281 RIDE COCA-COLA BURN ENERGY DRINK PUBLICIS MOJO SYDNEY EXIT FILMS MELBOURNE AUSTRALIAB01/319 BECAUSE I LIKE YOU POSTE ITALIANE MAILING SERVICE CRIC MILAN/H FILMS MILAN ITALYB01/332 MAJESTIC PLASTIC BAG HEAL THE BAY PUBLIC SERVICE ANNOUNCEMENT DDB LOS ANGELES PARTIZAN US LOS ANGELES USAB01/335 IT RARELY STOPS NAT. DOMESTIC VIOLENCE HOTLINE DOMESTIC VIOLENCE AWARENESS Y&R CHICAGO @RADICAL.MEDIA SANTA MONICA USAB01/341 MAKING OF YOUR MOM HATES DEAD SPACE 2 ELECTRONIC ARTS DEAD SPACE 2 GAME DRAFTFCB SAN FRANCISCO GOON MEDIA LOS ANGELES USAB01/374 DEVIN AND GLENN OPPOSITION TO PROP 8 ORG. IN SUPPORT OF GAY MARRIAGE SAATCHI & SAATCHI NEW YORK FURLINED SANTA MONICA USAB01/384 REAR VIEW GIRLS LEVI STRAUSS & CO CURVE ID JEANS COLENSO BBDO AUCKLAND FLYING FISH AUCKLAND NEW ZEALANDB01/409 BLACK MAMBA NIKE NIKE WIEDEN+KENNEDY PORTLAND @RADICAL.MEDIA SANTA MONICA USAB01/414 JS BEALS PROCTER & GAMBLE OLD SPICE BODY WASH WIEDEN+KENNEDY PORTLAND DON’T ACT BIG PORTLAND USAB01/415 T PROCTER & GAMBLE OLD SPICE BODY WASH WIEDEN+KENNEDY PORTLAND DON’T ACT BIG PORTLAND USAB01/416 APRIL JOHNSON ALLEN PROCTER & GAMBLE OLD SPICE BODY WASH WIEDEN+KENNEDY PORTLAND DON’T ACT BIG PORTLAND USAB01/417 FRUITVALE THE HUFFINGTON POST NEWS WEBSITE GOODBY SILVERSTEIN & PART. S. FRANCISCO USAB01/438 WAKE UP THE TOWN TRAILER PHILIPS WAKE-UP LIGHT TRIBAL DDB AMSTERDAM STAMP FILMS LONDON NETHERLANDSB01/439 WAKE UP THE TOWN - ARCTIC EXPERIMENT PHILIPS WAKE-UP LIGHT TRIBAL DDB AMSTERDAM STAMP FILMS LONDON NETHERLANDSB01/440 WAKE UP THE TOWN - TOM’S STORY PHILIPS WAKE-UP LIGHT TRIBAL DDB AMSTERDAM STAMP FILMS LONDON NETHERLANDSB01/442 DEMO SLAM: CHUBBY BUNNY GOOGLE GOOGLE INNOVATIONS JOHANNES LEONARDO NEW YORK RABBIT CONTENT NEW YORK USAB01/443 DEMO SLAM: REALTIME KARAOKE GOOGLE GOOGLE INNOVATIONS JOHANNES LEONARDO NEW YORK RABBIT CONTENT NEW YORK USAB01/444 DEMO SLAM: EXTRA SPICY GOOGLE GOOGLE INNOVATIONS JOHANNES LEONARDO NEW YORK RABBIT CONTENT NEW YORK USAB01/445 DEMO SLAM: ROUTE 66 GOOGLE GOOGLE INNOVATIONS JOHANNES LEONARDO NEW YORK RABBIT CONTENT NEW YORK USAB01/447 DEMO SLAM: RUSHMORE GOOGLE GOOGLE INNOVATIONS JOHANNES LEONARDO NEW YORK RABBIT CONTENT NEW YORK USAB01/515 CLAY PIGEON EUROPEAN TOUR EUROPEAN GOLF TOUR SAATCHI & SAATCHI LONDON BAREFACE PRODUCTIONS DUBAI UKB01/516 GONG EUROPEAN TOUR EUROPEAN GOLF TOUR SAATCHI & SAATCHI LONDON SPEERS FILM DUBLIN UKB01/542 PROFILE THE GOVERNOR BORDER ACTION NETWORK PUBLIC SERVICE ANNOUNCEMENT Y&R NEW YORK USAB01/565 EASTBOUND AND MOM HBO EASTBOUND AND DOWN BBDO NEW YORK BISCUIT FILMWORKS LOS ANGELES USAB01/587 PELE VIVO VIVO Y&R SÃO PAULO O2 FILMES SAO PAULO BRAZIL

OTHER SCREENSB02/018 REPLAY SEASON 3 GATORADE SPORTS DRINK TBWA\CHIAT\DAY LA LOS ANGELES FOX SPORTS NET LOS ANGELES USAB02/032 THE ROCKET PROJECT BRANDED CONTENT SONY VAIO & INTEL SONY VAIO & INTEL TECHNOLOGY 180LA SANTA MONICA @RADICAL.MEDIA NEW YORK USA

INTERACTIVE FILMB04/003 WHERE IS YOUR LINE? THE HAVENS SEXUAL ASSAULT AWARENESS YOUTH CLUB LONDON RATTLING STICK LONDON UKB04/007 DARK RIDE LEXUS LEXUS CT 200H SKINNY NEW YORK STINK DIGITAL LONDON/SPEEDSHAPE VENICE/SKUNK HOLLYWOOD USAB04/011 WARDEN SIXTEEN VANCOUVER INTERNAT. FILM FESTIVAL FILM FESTIVAL TREES & ROCKS VANCOUVER SUNEEVA TORONTO CANADAB04/013 ENTRANCE HEINEKEN HEINEKEN WIEDEN+KENNEDY AMSTERDAM SONNY LONDON/WIDESCOPE BARCELONA/HELLOHIKIMORI PARIS NETHERLANDSB04/014 TOUCHING STORIES BOARDS MAGAZINE TOOL OF NORTH AMERICA SANTA MONICA/DOMANI STUDIOS BROOKLYN USAB04/015 A HUNTER SHOOTS A BEAR BIC TIPP-EX POCKET MOUSE BUZZMAN PARIS GROUEK PARIS FRANCEB04/017 ENCOURAGEMENT SPECIAL OLYMPICS GREAT BRITAIN SPECIAL OLYMPICS JWT LONDON LONDON GORGEOUS LONDON UKB04/019 LOST IN VAL SINESTRA SWISSCOM SWISSCOM TV CONTEXTA BERN STORIES ZURICH SWITZERLAND

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CAT TITLE ADVERTISER PRODUCT ENTERED BY COUNTRY

A01/007 MAC VS. PC APPLE MACINTOSH TBWA\MEDIA ARTS LAB LOS ANGELES USAA01/026 THERE’S A MCDONALD’S FOR EVERYONE MCDONALD’S MCDONALD’S LEO BURNETT LONDON UNITED KINGDOMA01/029 CLEANS YOUR BALLS AXE AXE SHOWER GEL BBH NEW YORK USAA01/030 THE MAN YOUR MAN COULD SMELL LIKE PROCTER & GAMBLE OLD SPICE BODY WASH WIEDEN+KENNEDY PORTLAND USAA01/046 THE PACIFIC TVNZ TELEVISION PROGRAMME COLENSO BBDO AUCKLAND NEW ZEALANDA01/053 W.A.L.S. - WOMEN AGAINST LAZY STUBBLE PROCTER & GAMBLE GILLETTE MACH3 BBDO INDIA MUMBAI INDIAA01/061 SANDWICH PEPSICO WALKERS ABBOTT MEAD VICKERS BBDO LONDON UNITED KINGDOMA01/063 YOU’RE NOT YOU WHEN YOU’RE HUNGRY MARS CHOCOLATE SNICKERS BBDO NEW YORK USA

A01/118 CITY STREETS HASBRO MONOPOLY DDB UK LONDON UNITED KINGDOM

A01/124 ARE YOU STILL WITH US? HEINEKEN ITALIA HEINEKEN JWT ITALIA MILAN ITALY

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CREATIVEEFFECTIVENESS

CAT TITLE ADVERTISER PRODUCT ENTERED BY COUNTRYCA01/002 HAPPY INSIDE IKEA IKEA CATALOGUE MOTHER LONDON UNITED KINGDOMA01/057 THE MAN YOUR MAN COULD SMELL LIKE OLD SPICE OLD SPICE BODY WASH WIEDEN+KENNEDY PORTLAND USAA01/094 WRITE THE FUTURE NIKE NIKE FOOTBALL NIKE COMMS TEAM AMSTERDAM THE NETHERLANDSA01/101 THE MEGANE EXPERIMENT RENAULT MEGANE PUBLICIS LONDON UNITED KINGDOMA01/111 THE RIPPLE EFFECT TRANSPORT ACCIDENT COMMISSION SPEED GREY MELBOURNE AUSTRALIAA01/124 CONCERT MILK CONCERTHALL DORTMUND CONCERT HALL JUNG VON MATT HAMBURG GERMANYA01/132 TOUCH THE RAINBOW WRIGLEY SKITTLES BBDO CANADA TORONTO CANADAA01/134 CHROME FAST GOOGLE CHROME BROWSER BBH NEW YORK USAA01/138 THE WILDERNESS DOWNTOWN . ARCADE FIRE GOOGLE CREATIVE LAB NEW YORK USAA01/141 REPLAY SEASON 2 & 3 GATORADE SPORTS DRINK TBWA\CHIAT\DAY LA LOS ANGELES USAA01/153 AMERICAN ROM KANDIA DULCE ROM BV MCCANN ERICKSON BUCHAREST ROMANIAA01/172 SAVE THE BEACH HOTEL GMODELO EUROPA SAU CORONA BEER JWT MADRID SPAINA01/176 SHOW US YOUR PIZZA DOMINO’S PIZZA DELIVERY CRISPIN PORTER + BOGUSKY BOULDER USAA01/203 WATSON IBM IBM OGILVY & MATHER NEW YORK USAA01/239 WELCOME TO OUR REALITY SWEDISH ARMED FORCES RECRUITMENT DDB STOCKHOLM SWEDENA01/241 THE SPEED CAMERA LOTTERY VOLKSWAGEN BLUEMOTION TECHNOLOGIES DDB STOCKHOLM SWEDENA01/242 FASHION AWARD IKEA DEPARTMENT STORE FORSMAN & BODENFORS GOTHENBURG SWEDENA01/249 SECRETS BEHIND PAINTINGS PZU / NATIONAL MUSEUM IN KRAKOW MUSEUM LEO BURNETT WARSAW POLANDA01/250 VAC FROM THE SEA ELECTROLUX GREEN RANGE VACUUM CLEANERS PRIME PR STOCKHOLM SWEDENA01/251 THE VOICELESS CAMPAIGN THE ZIMBABWEAN NEWSPAPER TBWA\HUNT\LASCARIS JOHANNESBURG SOUTH AFRICAA01/255 CATS WITH THUMBS ARLA CRAVENDALE MILK WIEDEN+KENNEDY LONDON UNITED KINGDOMA01/265 KALEIDOSCOPIC FASHION SPECTACULAR TARGET TARGET MOTHER NEW YORK USAA01/277 THE LAST TEXT AT&T AT&T BBDO NEW YORK USAA01/289 READY TO WORK LEVI STRAUSS & CO. LEVI’S WORKWEAR WIEDEN+KENNEDY PORTLAND USAA01/290 YOUR MOM HATES DEAD SPACE 2 ELECTRONIC ARTS DEAD SPACE 2 DRAFTFCB SAN FRANCISCO USAA01/314 THE CODE ARMED FORCES OF COLOMBIA ARMED FORCES SUPPORT DDB COLOMBIA BOGOTÁ COLOMBIAA01/382 THE FRIENDSHIP MACHINE COCA-COLA COCA-COLA OGILVY ARGENTINA BUENOS AIRES ARGENTINAA01/385 DECODE JAY-Z WITH BING BING / JAY-Z DECODE JAY-Z WITH BING DROGA5 NEW YORK USAA01/432 PAY WITH A TWEET INNOVATIVE THUNDER CURRENCY SYSTEM R/GA NEW YORK USAA01/433 THE FILM ROOM NIKE APPAREL R/GA NEW YORK USAA01/437 WATER MARK DIAGEO BUNDABERG RUM LEO BURNETT SYDNEY AUSTRALIAA01/475 REAR VIEW GIRLS LEVI STRAUSS & CO. CURVE ID JEANS COLENSO BBDO AUCKLAND NEW ZEALAND

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TITANIUMAND INTEGRATED

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FILM CRAFTCAT TITLE ADVERTISER PRODUCT PRODUCTION COMPANY ADVERTISING AGENCY COUNTRY

PRODUCTION DESIGNA01/013 WRITE THE FUTURE NIKE NIKE FOOTBALL INDEPENDENT LONDON WIEDEN+KENNEDY AMSTERDAM NETHERLANDSA01/014 BEDTIME STORIES AT&T AT&T BISCUIT FILMWORKS LOS ANGELES BBDO NEW YORK USAA01/015 ENTERTAINMENT AT&T AT&T GORGEOUS LONDON BBDO NEW YORK USAA01/021 CHROME SPEED TESTS GOOGLE CHROME BROWSER FIRST AVE MACHINE NEW YORK BBH NEW YORK / GOOGLE CREATIVE LAB NEW YORK USAA01/024 IN WITH THE NEW VODAFONE MOBILE NETWORK BRAND FLYING FISH AUCKLAND COLENSO BBDO AUCKLAND NEW ZEALANDA01/040 DULUX WALLS AKZO NOBEL DULUX STINK LONDON EURO RSCG LONDON UNITED KINGDOMA01/060 FOUNDLING PHILIPS FLAT SCREEN T.VS RSA FILMS LONDON DDB UK LONDON UNITED KINGDOMA01/064 AFTER HOURS ATHLETE PUMA PUMA SOCIAL SMUGGLER HOLLYWOOD DROGA5 NEW YORK USAA01/081 WORLDS SMALLEST CHARACTER ANIMATION NOKIA NOKIA N8 AARDMAN ANIMATIONS BRISTOL WIEDEN+KENNEDY LONDON UNITED KINGDOMA01/092 QUESTIONS PROCTER & GAMBLE OLD SPICE MJZ LOS ANGELES WIEDEN+KENNEDY PORTLAND USA

DIRECTIONA02/001 CATS IKEA IKEA CATALOGUE STINK LONDON MOTHER LONDON UNITED KINGDOMA02/005 RIDE COCA-COLA BURN ENERGY DRINK EXIT FILMS MELBOURNE PUBLICIS MOJO SYDNEY AUSTRALIAA02/016 MADE OF MEANER STUFF SKODA FABIA VRS SOMESUCH & CO LONDON/UNIT SOFA PRAGUE FALLON LONDON UNITED KINGDOMA02/017 CONTROL NIKE NIKE CTR 360 OUTSIDER LONDON WIEDEN+KENNEDY LONDON UNITED KINGDOMA02/044 MODELS SONY ERICSSON MOBILE PHONE SMUGGLER LONDON DARE LONDON UNITED KINGDOMA02/065 VOICE OVER CADBURY LUNCHBAR VELOCITY FILMS JOHANNESBURG OGILVY JOHANNESBURG SOUTH AFRICAA02/089 BORN OF FIRE CHRYSLER CHRYSLER 200 SERIAL PICTURES NEW YORK/JOINT EDITORIAL PORTLAND WIEDEN+KENNEDY PORTLAND USAA02/100 TO WORK LEVI’S LEVI’S CLOTHING SKUNK HOLLYWOOD WIEDEN+KENNEDY PORTLAND USAA02/164 MISS CHIEF PREMIER FOOD HOVIS GORGEOUS LONDON MCBD LONDON UNITED KINGDOMA02/177 FORCE VOLKSWAGEN VW PASSAT PARK PICTURES NEW YORK DEUTSCH INC. LOS ANGELES USAA02/179 KEVIN BACON FAN LOGITECH LOGITECH REVUE WITH GOOGLE TV SMUGGLER HOLLYWOOD GOODBY SILVERSTEIN & PARTNERS SAN FRANCISCO USAA02/206 DIRECTORS TIPS PEPSICO DORITOS MJZ LONDON AMV.BBDO LONDON UNITED KINGDOMA02/212 CAB JAM JETBLUE AIRLINE SMUGGLER HOLLYWOOD MULLEN BOSTON USAA02/214 GLASS HALF FULL JETBLUE AIRLINE SMUGGLER HOLLYWOOD MULLEN BOSTON USAA02/216 LOCAL JETBLUE AIRLINE SMUGGLER HOLLYWOOD MULLEN BOSTON USAA02/238 SOMETHING’S LURKING LG ELECTRONICS VACUUM CLEANER SMUGGLER NEW YORK/PSYOP NEW YORK Y&R NEW YORK USAA02/246 AFTER HOURS ATHLETE PUMA PUMA SOCIAL SMUGGLER NEW YORK DROGA5 NEW YORK USAA02/257 BRAIDS PEPSICO H2OH ARGENTINACINE BUENOS AIRES BBDO ARGENTINA BUENOS AIRES ARGENTINAA02/262 SLO MO CARLTON AND UNITED BREWERIES CARLTON DRAUGHT PLAZA FILMS SYDNEY CLEMENGER BBDO MELBOURNE AUSTRALIAA02/315 ENTRANCE HEINEKEN HEINEKEN SONNY LONDON WIEDEN+KENNEDY AMSTERDAM UNITED KINGDOM

BEST PRODUCTION VALUEA03/006 MINI COUNTRYMAN FLOW MINI/BMW MINI COUNTRYMAN SMUGGLER HOLLYWOOD BSUR AGENCY AMSTERDAM NETHERLANDSA03/032 PELÉ (1284) VIVO VIVO O2 FILMES SÃO PAULO Y&R SÃO PAULO BRAZILA03/042 GIANT BON O BON ARCOR BON O BON ARGENTINACINE BUENOS AIRES LEO BURNETT ARGENTINA BUENOS AIRES ARGENTINAA03/057 STAY AWAKE NISSAN NISSAN JUKE WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX TBWA\PARIS FRANCE

CINEMATOGRAPHYA04/005 IPAD LIGHT PAINTING DENTSU LONDON ADVERTISING AGENCY BERG LONDON DENTSU LONDON LONDON UNITED KINGDOMA04/009 MINI COUNTRYMAN FLOW MINI/BMW MINI COUNTRYMAN SMUGGLER HOLLYWOOD BSUR AGENCY AMSTERDAM NETHERLANDSA04/038 KITCHEN ODYSSEY LURPAK LURPAK STINK LONDON WIEDEN+KENNEDY LONDON UNITED KINGDOMA04/042 TO WORK LEVI’S LEVI’S CLOTHING SKUNK HOLLYWOOD WIEDEN+KENNEDY PORTLAND USAA04/070 DULUX WALLS AKZO NOBEL DULUX STINK LONDON EURO RSCG LONDON UNITED KINGDOMA04/073 WELCOME MERCEDES-BENZ MERCEDES-BENZ GORGEOUS LONDON MERKLEY + PARTNERS NEW YORK UNITED KINGDOMA04/077 SWITZERLAND - MORE THAN MOUNTAINS SWITZERLAND TOURISM TOURISM/TRAVEL CONDOR FILMS ZÜRICH SPILLMANN/FELSER/LEO BURNETT ZÜRICH SWITZERLANDA04/092 AFTER HOURS ATHLETE PUMA PUMA SOCIAL SMUGGLER HOLLYWOOD DROGA5 NEW YORK USAA04/094 BIRTH OF A SPARTAN MICROSOFT XBOX HALO REACH BISCUIT FILMWORKS LOS ANGELES AGENCYTWOFIFTEEN SAN FRANCISCO USAA04/117 HUSSARS ORANGE CINEDAY PARTIZAN PARIS PUBLICIS CONSEIL PARIS FRANCEA04/118 FIRE PERNOD RICARD JAMESON BISCUIT FILMWORKS LOS ANGELES TBWA\CHIAT\DAY NEW YORK USAA04/120 STAY AWAKE NISSAN NISSAN JUKE WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX TBWA\PARIS FRANCE

EDITINGA05/003 KITCHEN ODYSSEY LURPAK LURPAK STINK LONDON WIEDEN+KENNEDY LONDON UNITED KINGDOMA05/004 BORN OF FIRE CHRYSLER CHRYSLER 200 SERIAL PICTURES NEW YORK/JOINT EDITORIAL PORTLAND WIEDEN+KENNEDY PORTLAND USAA05/006 TO WORK LEVI STRAUSS & CO. LEVI’S WORK WEAR SKUNK NEW YORK/JOINT EDITORIAL PORTLAND WIEDEN+KENNEDY PORTLAND USAA05/027 BLACK MAMBA NIKE NIKE @RADICAL.MEDIA SANTA MONICA WIEDEN+KENNEDY PORTLAND USA

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CAT TITLE ADVERTISER PRODUCT PRODUCTION COMPANY ADVERTISING AGENCY COUNTRYA05/029 LAST TANGO IN COMPTON VOLKSWAGEN POLO ACADEMY LONDON DDB UK LONDON UNITED KINGDOMA05/036 FOR EVERY BREATH MEDIBANK HEALTH INSURANCE EXIT FILMS MELBOURNE GEORGE PATTERSON Y&R MELBOURNE AUSTRALIAA05/048 60 THINGS IN 60 SECONDS SKY TELEVISION MY SKY THICK AS THIEVES AUCKLAND DDB GROUP NEW ZEALAND AUCKLAND NEW ZEALANDA05/051 WRITE THE FUTURE NIKE NIKE FOOTBALL INDEPENDENT LONDON WIEDEN+KENNEDY AMSTERDAM UNITED KINGDOMA05/052 AFTER HOURS ATHLETES PUMA PUMA SOCIAL RATTLING STICK LONDON DROGA5 NEW YORK UNITED KINGDOMA05/082 MILK RUN VOLKSWAGEN VOLKSWAGEN RANGE ROBBERS DOG FILM AUCKLAND DDB GROUP NEW ZEALAND AUCKLAND NEW ZEALANDA05/094 WHO KILLED DEON? THE LONDON METROPOLITAN POLICE ANTI KNIFE CRIME MAD COW FILMS LONDON ABBOTT MEAD VICKERS BBDO LONDON UNITED KINGDOMA05/096 ENTRANCE HEINEKEN HEINEKEN SONNY LONDON WIEDEN+KENNEDY AMSTERDAM UNITED KINGDOM

SCRIPTA06/010 MODELS SONY ERICSSON MOBILE PHONE SMUGGLER LONDON DARE LONDON UNITED KINGDOMA06/012 GUIDOS SONY ERICSSON MOBILE PHONE SMUGGLER LONDON DARE LONDON UNITED KINGDOMA06/015 TODDLERS SONY ERICSSON MOBILE PHONE SMUGGLER LONDON DARE LONDON UNITED KINGDOMA06/020 WRITE THE FUTURE NIKE NIKE FOOTBALL INDEPENDENT LONDON WIEDEN+KENNEDY AMSTERDAM NETHERLANDSA06/030 FLAG ALLSTATE INSURANCE EPOCH FILMS BEVERLY HILLS/MASSMARKET NY/ANOTHER COUNTRY CHICAGO LEO BURNETT CHICAGO USAA06/031 GPS ALLSTATE INSURANCE EPOCH FILMS BEVERLY HILLS/MASSMARKET NY/ANOTHER COUNTRY CHICAGO LEO BURNETT CHICAGO USAA06/032 LAWN GAME ALLSTATE INSURANCE EPOCH FILMS BEVERLY HILLS/MASSMARKET NY/ANOTHER COUNTRY CHICAGO LEO BURNETT CHICAGO USAA06/033 TEEN DRIVER ALLSTATE INSURANCE EPOCH FILMS BEVERLY HILLS/MASSMARKET NY/ANOTHER COUNTRY CHICAGO LEO BURNETT CHICAGO USAA06/036 TO WORK LEVI’S LEVI’S CLOTHING SKUNK HOLLYWOOD WIEDEN+KENNEDY PORTLAND USAA06/049 SWAGGER WAGON TOYOTA TOYOTA SIENNA CAVIAR LA LOS ANGELES SAATCHI & SAATCHI LA USAA06/065 KEVIN BACON FAN LOGITECH LOGITECH REVUE WITH GOOGLE TV SMUGGLER HOLLYWOOD GOODBY SILVERSTEIN & PARTNERS SAN FRANCISCO USAA06/079 ONE HITTER NEW ERA BASEBALL CAPS HUNGRY MAN NEW YORK THE BROOKLYN BROTHERS NEW YORK USAA06/081 BORN OF FIRE CHRYSLER CHRYSLER 200 SERIAL PICTURES CULVER CITY/JOINT EDITORIAL PORTLAND WIEDEN+KENNEDY PORTLAND USAA06/089 AFTER HOURS ATHLETE PUMA PUMA SOCIAL SMUGGLER NEW YORK DROGA5 NEW YORK USAA06/109 COPIER - LANDON DONOVAN ESPN SPORTSCENTER O POSITIVE FILMS NEW YORK WIEDEN+KENNEDY NEW YORK USAA06/111 PATHOLOGICAL LIAR LAND ROVER LR4 O POSITIVE FILMS NEW YORK Y&R NEW YORK USAA06/115 QUESTIONS PROCTER & GAMBLE OLD SPICE MJZ LOS ANGELES WIEDEN+KENNEDY PORTLAND USA

BEST USE OF MUSICA07/004 WRITE THE FUTURE NIKE NIKE FOOTBALL ANONYMOUS CONTENT CULVER CITY/INDEPENDENT LONDON WIEDEN+KENNEDY AMSTERDAM NETHERLANDSA07/021 WELCOME BACK T-MOBILE TELECOMMUNICATIONS SMUGGLER LONDON SAATCHI & SAATCHI LONDON UNITED KINGDOMA07/027 SENSITIVE ARMPITS UNILEVER REXONA SENSITIVE HUNGRY MAN NEW YORK PONCE BUENOS AIRES ARGENTINAA07/032 ENTRANCE HEINEKEN HEINEKEN SONNY LONDON WIEDEN+KENNEDY AMSTERDAM NETHERLANDSA07/058 HAIRMOTICONS BRAUN SATIN HAIR 5 MULTISTYLER VCC PERFECT PICTURES DÜSSELDORF/DAS WERK DÜSSELDORF BBDO GERMANY DÜSSELDORF GERMANYA07/074 SWAGGER WAGON TOYOTA TOYOTA SIENNA CAVIAR LA LOS ANGELES SAATCHI & SAATCHI LA USAA07/093 BLOCK PROJECT MATTEL FRANCE SCRABBLE PARANOID PROJECTS PARIS OGILVY FRANCE PARIS FRANCEA07/107 VICTOR SONY PLAYSTATION GARLIC FILMS MADRID DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES ARGENTINAA07/108 TRAIN GOVERN. OF INDIA MINIS. OF RAILWAYS RAILWAYS NIRVANA FILMS MUMBAI OGILVY & MATHER MUMBAI INDIAA07/126 BORN OF FIRE CHRYSLER CHRYSLER 200 SERIAL PICTURES CULVER CITY/JOINT EDITORIAL PORTLAND WIEDEN+KENNEDY PORTLAND USAA07/132 BLAM!BLAM! PUMA FAAS LAB MJZ NEW YORK DROGA5 NEW YORK USAA07/147 FORCE VOLKSWAGEN VW PASSAT ENDLESS NOISE LOS ANGELES DEUTSCH INC. LOS ANGELES USAA07/157 DRUNK VALET BAR AURORA E BOTECO FERRAZ CHAIN OF BARS HUNGRY MAN SÃO PAULO OGILVY BRASIL SÃO PAULO BRAZILA07/163 LE QUEST STELLA ARTOIS STELLA ARTOIS RATTLING STICK LONDON MOTHER LONDON UNITED KINGDOMA07/169 BRICK THIEF LEGO LEGO MJZ LOS ANGELES PEREIRA & O’DELL SAN FRANCISCO USAA07/170 TO WORK LEVI’S LEVI’S CLOTHING SKUNK HOLLYWOOD WIEDEN+KENNEDY PORTLAND USAA07/173 WEDDING T-MOBILE TELECOMMUNICATIONS GORGEOUS LONDON SAATCHI & SAATCHI LONDON UNITED KINGDOM

SOUND DESIGNA08/002 WRITE THE FUTURE NIKE NIKE FOOTBALL INDEPENDENT LONDON WIEDEN+KENNEDY AMSTERDAM UNITED KINGDOMA08/005 XYLOPHONE NTT DOCOMO MOBILE PHONE ENGINE PLUS TOKYO/DRAWING AND MANUAL TOKYO DRILL TOKYO/DENTSU TOKYO JAPANA08/019 CHROME SPEED TESTS GOOGLE CHROME BROWSER FIRST AVE MACHINE NEW YORK BBH NEW YORK/GOOGLE CREATIVE LAB NEW YORK USAA08/023 TRAVEL SYMPHONY DEUTSCHE BAHN GERMAN RAIL DOITY PRODUKTION BERLIN OGILVY FRANKFURT GERMANYA08/040 SLEEP WELL SUNRISE TELECOMMUNICATION TELECOMMUNICATION SERVICE ULTRA IMAGES ZÜRICH SPILLMANN/FELSER/LEO BURNETT ZÜRICH SWITZERLANDA08/049 VOICE OVER CADBURYS LUNCH BAR VELOCITY FILMS JOHANNESBURG OGILVY JOHANNESBURG SOUTH AFRICAA08/050 TICK CANAL + TV CHANNEL WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX BETC EURO RSCG PARIS FRANCE

SPECIAL EFFECTS & COMPUTER GRAPHICSA09/021 MINI COUNTRYMAN FLOW MINI/BMW MINI COUNTRYMAN SMUGGLER HOLLYWOOD BSUR AGENCY AMSTERDAM NETHERLANDSA09/026 CUBEHEAD DRENCH DRENCH WATER SMITH AND JONES LONDON/MPC LONDON CHI & PARTNERS LONDON UNITED KINGDOMA09/029 SPRING AT&T AT&T RABBIT CONTENT NEW YORK BBDO ATLANTA USAA09/085 VICTOR SONY PLAYSTATION 3 GARLIC FILMS MADRID DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES SPAINA09/086 TICK CANAL + TV CHANNEL WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX BETC EURO RSCG PARIS FRANCEA09/103 WRITE THE FUTURE NIKE NIKE FOOTBALL ANONYMOUSCONTENT@INDEPENDENT LONDON/THE MILL LONDON WIEDEN+KENNEDY AMSTERDAM UNITED KINGDOMA09/108 SOMETHING’S LURKING LG ELECTRONICS VACUUM CLEANER SMUGGLER NEW YORK/PSYOP NEW YORK Y&R NEW YORK USA

ANIMATIONA10/015 SPOTS V STRIPES CADBURY CADBURY ACADEMY LONDON/MPC LONDON FALLON LONDON UNITED KINGDOMA10/021 THIS OR THAT KIA KIA SOUL PARTIZAN LONDON DAVIDANDGOLIATH EL SEGUNDO USAA10/035 REVOLUTION MICROSOFT XBOX FABLE III SMUGGLER HOLLYWOOD/PSYOP NEW YORK AGENCYTWOFIFTEEN SAN FRANCISCO USAA10/038 HAIRMOTICONS BRAUN SATIN HAIR 5 MULTISTYLER VCC PERFECT PICTURES DÜSSELDORF/DAS WERK DÜSSELDORF BBDO GERMANY DÜSSELDORF GERMANYA10/092 ABOVE EVERYTHING ELSE... SILESTONE BY COSENTINO KITCHEN WORKTOPS ALEX ROMAN MADRID SPAINA10/097 WORLDS SMALLEST CHARACTER ANIM. NOKIA NOKIA N8 AARDMAN ANIMATIONS BRISTOL WIEDEN+KENNEDY LONDON UNITED KINGDOMA10/106 BALLOONS MTV INSTITUCIONAL PARANOIDBR SÃO PAULO/RAW PRODUTORA DE AUDIO SÃO PAULO LODUCCA MPM SÃO PAULO BRAZILA10/107 A WHIRLWIND OF CHANGE RENAULT ELECTRIC CARS DIGITAL DISTRICT PARIS BLUE ADVERTAINMENT PARIS FRANCEA10/122 TESTIMONY OF A SNAIL SEQUOIA ORGANIC & NATURAL MARKET WIZZ CLICHY MARCEL PARIS FRANCEA10/127 E3 UBISOFT RAVING RABBIDS WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX LUDI FACTORY MONTREUIL FRANCE

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H E I N T E L L I G E N T WAY T O B U I L D Y O U R B R A N D I N A F R I C A .T

f

WIDESPREAD in Africa is the belief that one should raise one’s bed (or in this case the equally

prevent the unwelcome advances of little spirits called Tokoloshes.

Some Europeans may find this

touching wood or even donning a favourite pair of underpants to bring good luck.

Superstitions, it’s clear, take many forms and guises. As do bricks.

Take the BRIC acronym.Coined in 2001 by Jim O’Neil

of Goldman Sachs, he predicted that by 2014 four key emerging economies, Brazil, China, India and Russia, would account for over 60% of global growth. (To his lasting credit he settled on BRICs and not CRIBs).

Historically, South Africa sat on the sidelines, no doubt marvelling at the power and status wielded by this supreme quartet.

Then, late last year, something

remarkable happened. Arguably, something even more significant

Cup on African soil.Along with the Christmas

cards, an invitation arrived on the desk of South African President Jacob Zuma. It was from the Chinese President, Hu Jintao, requesting South Africa joins the BRICs group of major emerging markets.

BRICs becomes BRICS. And the simple metamorphosis of the

letter ‘s’ from lower to upper case will almost certainly alter the entire destiny of a continent.

At The Jupiter Drawing Room (South Africa), an agency that is SA born and bred, we celebrated with wild aplomb on our agency heirloom; an original Chesterfield sofa (our first item of furniture remains convincingly emblematic of the creativity and craftsmanship at the heart of the agency).

We concur with the sentiments expressed by the International

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B U I L D Y O U R B R A N D I N A F R I C A .T

Marketing Council, who see the BRICS announcement as recognition that South Africa is the gateway to a continent of one billion consumers undergoing astonishing economic transformation.

In March last year a Newsweek feature proclaimed: ‘Africa – The New India – How an Economic Explosion is Transforming the Continent’.

Africa now has the highest rate of growth outside Asia. Africans are already richer than Indians.

Dear old Jim O’Neil himself predicts the combined GDP of the eleven largest African economies could reach US$13 trillion by 2050, making them bigger than Brazil and Russia.

And, for good measure, The New York Times reports that by 2040 Africa’s workforce (aged 16 to 64 years old) is likely to reach 1,2 billion, making it bigger than those of China and India!

Clearly, marketers can no longer ignore the signif icance of

Africa as a vibrant melting pot of burgeoning consumers.

And that’s where we come in.If you have aspirations for your

brand in Africa, doesn’t it make sense to talk to an agency that’s had a modicum of success building its own there?

Last year, FinWeek’s AdReview declared The Jupiter Drawing Room (South Africa), to be the first independent to win the Overall Agency of the Decade crown.

We like to believe this was, in

part, recognition for our twenty years at the coal face, successfully building brands on the world’s second largest continent. Why not e-mail [email protected]?

As we see it, along with an understanding of each market (superstitions included) bricks and BRICS will, for different reasons, provide the right foundations.

But when you’re exposed to our credentials, you’ll hopefully discover that for yourself.

On the Chesterfield. Of course.

W

T

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FRIDAY, JUNE 24,2011

f Gisele Bundchen wasthe star of a Pantenecampaign by Grey

Thebeautiful south

BRAZIL’s ascent into the ranks of globally signifi-cant economic powerhouses has been much dis-cussed, but one fact less talked about is that Presi-dent Lula’s administration created 20 million newconsumers, which has had a galvanising effect on

the country’s advertising agencies and spot producers. AntonioCarlos Accioly, executive producer at Margarida Filmes, is see-ing multiple changes on the home front: “Today we are workinghard for the local market and in particular for clients such asUnilever, Procter & Gamble and its agencies,” he says. “The influ-ence of the strengthening of the Brazilian economy is manifestin the growing number of multinational agencies entering thelocal advertising market and the presence of new brands. Wehave also noticed that Brazil is attracting more films, havingrecently served as a location for large productions like The FastAnd The Furious 5 by Justin Lin, the animated film Rio by CarlosSaldanha, Dawn Twilight by Chris Weitz, The Incredible Hulk byLouis Leterrier among others.”

Two of Margarida’s biggest jobs of the last year were carcommercials for Citroen and Mitsubishi. “They were very chal-lenging because of the huge structure created to transport thevehicles, the massive lighting equipment and certain particulari-ties of the locations where it was filmed. The Citroen spot wasfilmed on the road linking the cities of Petropolis and Juiz deFora, which was entirely closed for filming, and the MitsubishiPaje was shot in the sand dunes of Arraial do Cabo,” Accioly says.“Currently the challenge we face is to be able to maintain thequality of the films, and increase our base costs while stayingactive in an increasingly competitive market.”

Margarida has a complete post-production and 3D set-upat the company’s headquarters in Sao Paulo, and more than fiveaffiliates across the country, including Porto Alegre, Curitiba

and Brasilia. According to Grey Brasil’s creative director, GuyCosta, and executive creative director, Alexandre Scaff, Brazil isfull of opportunities: “It represents half of the economy of LatinAmerica. But what is really worth mentioning is that communi-cation is part of the engine of this economy and culture. In Brazil,businesses and government institutions see communication as agreat ally. The Brazilian way is that we use creativity to do busi-ness for our clients, including introducing ideas that they don’teven know they need. This means being in tune with the busi-

ness of our clients to identify all possible opportunities. To do so,the agency has to be creative as a whole. This applies to bothlocal clients and international ones.” Grey’s biggest challengelast year was also the source of Costa’s greatest pleasure: “TheHair Samba integrated campaign for Pantene was a great chal-lenge because it was a new idea. Imagine launching a new dancestep in Brazil during the carnival! It involved creating a dedicat-ed samba school and an internet contest, plus the sponsorshipof major television networks in Brazil. The result was more than5,000 people dancing the Hair Samba at the carnival in Rio,$25m of spontaneous media and considerable growth of sales

“THE BRAZILIAN WAY IS THAT WE USE CREATIVITY TO DO BUSINESS FOR

OUR CLIENTS, INCLUDINGINTRODUCING IDEAS THEY DON’T EVEN

KNOW THEY NEED”Guy Costa, Grey Brasil

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

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within the first two months.” For WMcCann regional directorLuca Lindner, the last year presented a very different kind ofchallenge, to fuse Washington Olivetto and McCann Brazil tocreate WMcCann. “It is now one of the top five agencies in themarket and both our clients and our people are very happy, com-bining WBrazil’s local soul and creative ethos with McCann’sglobal attitude and strategic planning tradition has been an amaz-ing task. And along the way we’ve picked up new business, suchas Walmart in Central America, new digital assignments for Nes-tle Brasil, Telkom in South Africa and Sony Ericsson for parts ofthe Middle East.”

Meanwhile, back on Planet Brazil, Lindner sometimes hasdifficulty believing what is happening: “I wake up every morn-ing and check if I’m dreaming, but it is real. There is growtheverywhere. All our clients are on double-digit growth and weare doing very well. But beyond the numbers, today in Braziland in most of the region under my responsibility, from Dubai toKenya and from Costa Rica to Brazil, there is the sort of open-ness and optimism about the future that Europe had in the ‘50s/’60s.”

For Alexandre Gama, president and creative and planningdirector of NEOGAMA/BBH, new business has been mainly local:“Brazil is booming, local business rules and much of it is digital.It’s a bit like categorising the world’s religions as Christian ornon-Christian, for example, when it’s clear that you’re describ-ing religion from your own point of view. But in communication,the real professionals have to be agnostic and I’m a believer inthe holy toolbox of media communication. I’m not offline, online,below the line or above the line. I’m no line. I seek to embrace allforms of communication that can help my ideas to reach people

in the best possible way. It’s the message that matters the most.”When Gama started his agency, his goal was to take the

agency to the top 10 within 10 years. “NEOGAMA/BBH is now atop-five agency in Brazil by media-buying rank,” he says. “Theagency is currently as relevant to the agency network business asthe London office. There’s no other case like this in the country,even when you take into account that the country has been boost-ed by recent economic growth.”

For Marcos Golfari, regional CEO for Ogilvy & Mather Lati-na, and Gaston Bigio, regional creative director, 2010 was thebest in the last 10 years: “It was even better than pre-crisis 2008,which was a record year — and this is only talking about num-bers,” Golfari says. “From a business point of view, we won impor-tant new clients, including YPF in Argentina, Bimbo in Mexico,Claro, L’Occitane and Siemens in Brazil, Nestea and Comcel inColombia, and Jumbo in Chile.”

According to Golfari, 2010 was a year of broad-based expan-sion. “There was growth as well in newly initiated areas such asPR, winning the Image Of Mexico campaign and, in Brazil, the

r Surreal Uyuni asfeatured in the Uniqlospot (OPENER)

“IF BEFORE WE ACCOMPLISHED MUCHWITH LITTLE, WE ARE GOING TOACCOMPLISH MUCH MORE WITHMORE... BUT WE WILL HAVE MORESOPHISTICATED PRODUCTION”

Sergio Valente, DM9DBB

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Embratur for Europe campaign. Our plan for 2011 is what weconsider a realistic growth rate, of 10%. Currently Brazil andMexico are the great motors of Latin America, closely followedby Argentina, and Colombia which has been reactivated in recentyears.”

Bigio agrees: “The region is in the middle of profoundchange from the classical image based on tango and samba cul-ture to something quite new. We have our own way of looking atthe world and inevitably lots of ideas that have local and inter-national resonance.

“It’s the same with our uses of colour. Colours often havea historical relevance here, and they reflect the diversity andenergy of the region.”

In order to justify its presence in the region, Ogilvy hashad to focus on the local creative level. “I believe that this isreflected in campaigns like Santa’s Forgotten Letters for Coca-Cola by Ogilvy Brasil and Ogilvy Buenos Aires’ Spread The TED,where 50 taxi drivers in Buenos Aires were asked to attend aTEDx conference and then talk about what they’d seen and heard

to their customers.”Sergio Valente, president of DM9DDB, has also been busy

with the mechanics of the agency: “In 2010 we concentrated onconsolidating DDB Brazil as a convergent agency, a process thatstarted in 2004 and led us to winning the Cyber Agency of theYear at the Cannes Festival in 2005. Therefore, it has been impor-tant for us to work with our existing clients to win their digitalaccounts, in order to consolidate our strategy of thinking, creat-ing and implementing truly convergent brand building. “Wewon the digital accounts of clients such as Whirlpool Digital,C&A Mobile and C&A Digital (the largest clothing retailer inBrazil), Bohemia Digital (a premium beer by Ambev for theBrazilian market) and Itau Digital (one of Brazil’s largest banks).One outstanding result was the convergent campaign for Whirlpoolbrand Brastemp, which garnered both critical and public acclaim.

“On top of that, three brands served by DM9 — C&A,Brastemp and Banco Itau — entered the new ranking publishedby Troiano consulting, of brands with the greatest digital DNAin the Brazilian market.”

It seems that Brazil’s prize-winning can-do attitude hasnot been — and is unlikely to be — affected by the rapidly grow-ing economy. “I don’t think it will change much. Brazilians arecreative and they will continue being creative,” he says. “But, ifbefore we accomplished much with little, we are going to accom-plish much more with more, and I have no doubt that local cre-ativity will stay at a high level, but for sure we will have moresophisticated productions.”

Changes are under way as well as at Y&R Brazil, whereRui Branquinho took over as creative vice-president in January.“He has already had the opportunity to put some excellent workon the streets,” says Marcos Quintela, president of Y&R Brazil.“Among them is a project for Santa Casa, and the campaigndeveloped for Miami Ad School, which stimulates youngsters tocreate instead of copying, using only the traditional letterset.”

Following more than a decade of steady growth and con-solidation, Quintela is looking to move ahead more rapidly. “Themomentum is now to boost growth using the opportunities offeredby the re-shaping of Brazil’s social pyramid,” he says. “The con-siderable growth of an emerging class of consumers, alongsidemore accessible credit and not forgetting the major sportingevents ahead, mean that Y&R Brazil’s brand portfolio will cer-tainly benefit from the combination of all these opportunities.”

Sport-related opportunities are already happening. “Theproject developed for Vivo around the sponsorship of the Brazil-ian soccer team was a huge challenge,” Quintela says. “Most dif-ficult was keeping the brand in focus during the World Cupevent across this huge country without the use of TV as a mass-media vehicle. Y&R developed an online platform engagingconsumers during the entire period, culminating with fantasydocumentary O Ultimo Gol Do Pele, which consumers loved.Research results showed growth in consumer preference in aperiod where the brand was absent from traditional mediums,

ARGENTINIAN producerHachiko Films faced numerouschallenges shooting the Noah’sBar spot for Sprite and agencySanto Buenos Aires. “The pro-duction had to find a good bal-ance between humour andnon-aggressiveness, becausewe had to show animals hav-ing sex, and a teenage girlrepressing her sexual impuls-

es, and all that had to be ableto be aired on TV, cinema andinternet,” director ClaudioPrestia, says. “The spot wasshot in Buenos Aires in fivedays, with a fake bar that theart department had to build tothe scale of each animal cou-ple seated at each table.” Ele-phants, donkeys, tortoises,goats and guinea pigs were

shot flirting through to mat-ing, and then the shoot wasfollowed by two months ofpost-production. “Everyonewas happy with the results,but it is true what actors say,”Prestia says. “When there areso many technicians behindthe scenes, there was no truelove among any of the animalcouples.”

AN ELEPHANT WALKED INTO A BAR…ARG EN T I N A

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www.moonlighting.co.za

100% Service 100% Production

CHILE / ROMANIA / SOUTH AFRICA

proving the success of the strategy. “Another project that makesus extremely proud is the campaign created for Santa Casa deMisericorida de Sao Paulo, the oldest hospital in the city. Wehave been voluntarily responsible for the institution’s communi-cation since 2004 and the campaign is part of the 5% movement,to encourage 5% of Brazilians to donate blood. Our aim was toinspire advertisers to donate space in shared content and com-munication pieces by offering other agencies downloadableintervention tags to place in their own clients’ ads.” In Chile,Sylvie Dube, executive producer at Moonlighting, is seeing anew wave of US clients taking advantage of the country’s rela-tive proximity. “Our new business is partly location-driven andpartly thanks to the fact that talent rates are low,” she says.“Plus our crews are excellent, and thanks to their efficiencyand the local geography, we can do a lot of different scenariosin a short time.

“Recently we shot a Tiger beer commercial which involvedmocking up Italy, Germany, the US and Peru, and we managedall four in the same day. Production company Traktor told usthat we were at the same level as LA — quite a compliment!And then they hired our art director and flew her out to Cam-bodia for a further shoot.” Dube is justifiably proud of her teamand its can-do attitude. “We worked with Boxer on a shoot that

involved multiple car crashes, we’ve staged a boat race for Tim-berland with a stunt man jumping from boat to boat, and we’vedone quite a few kids spots recently. Chilean laws coveringworking with kids are less bureaucratic than in both Argentinaand Brazil, where you are obliged to make applications sevendays before the shoot, which can be impossible for some spots.“In terms of having kids working on set, Chilean law is lessstrict in terms of hours per day but, as we all know, workingwith kids is all about being kind and considerate with them,making sure they don’t get bored in between takes.”

Monlighting also recently serviced an Outsider shoot forUK pharmaceutical brand Boots. “That was another quite intensejob,” Dube says. “It involved several short stories per day and

THANKS TO OUR CREWS’ EFFICIENCYAND THE LOCAL GEOGRAPHY, WE CANDO A LOT OF DIFFERENT SCENARIOS

IN A SHORT TIME”Sylvie Dube, Moonlighting

n Brastempcreated a hugebuzz in Brazil forWhirlpool

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really tested our ability to move the set quickly from place toplace. We are also now working regularly on co-productionswith other service companies in Argentina and Brazil in orderto be able to offer a greater range of locations and productionoptions.”

Ocean Films’ executive producer, Cristian Marini, recent-ly found himself in the middle of Bolivia at over 3,000 metresaltitude on the huge and beautiful salt flats of Uyuni. “We wentto Uyuni because our client Uniqlo asked us to make a spotthere. Aesthetically it is stunning, especially in the rainy sea-son when the shallow water on the flats creates a huge mirrorwhich reflects the sky and clouds. But there is so little produc-tion support in Bolivia that we were obliged to take almosteverything we were going to need with us.”

Following a stay in La Paz to acclimatise, the crew drovein a convoy of 4x4s to Uyuni. “And when we got there, guesswhat? No rain, so no big beautiful mirror! But just before wewere due to leave, the rain fell and we got that amazing effectwith no horizon, where you don’t know whether you are in thesky or on the ground.”

Ocean Films has also shot in Brazil a reality show calledShort Cut To Hell for MTV India, and just finished filming thelatest spot for the Mini Cooper. Of the latter Marini says: “Ican’t say too much because it has not yet been broadcast butthe story is based around a samba drome, and involved hun-dreds of extras plus a parade through the streets with all theusual carnival trimmings and decoration. It’s a great spot andwe really enjoyed working with Thomas & Thomas.”

Another MTV project, this time a spot for MTV Brazilmade by Paranoid Films, involved an animated sequence witheach drawing appearing on a white balloon which was burst

by a needle moving down a 140-metre track. “There were 3,600balloons, so in fact, in principle we needed a 220-metre trackbut were only able to build 140 metres, so there are a couple ofedits, but they are very hard to spot,” executive producer Egis-to Betti says. “We also had to spend quite some time findingthe optimum velocity, which turned out to be 24 balloons perframe. And, due to the nature of the job, once we had startedwe just had to keep going, so we shot for 36 hours straightthrough.”

The effort was worth it though, with the spot having cre-ated a huge buzz on professional and online video sites, gener-ating hundreds of thousands of views. Betti says: “A simpleidea done well can be very powerful.”

Another simple idea that Paranoid has pioneered in Brazilis presenting treatments to clients. “It is something that is nor-mal procedure in many other places but not in Brazil, and ourclients really appreciate that they know exactly what they’regetting,” Betti says. “Plus we can offer a roster of foreign direc-tors from our offices in Paris and LA, and on a local level, Dul-cidio Caldera, who directed the MTV balloons spot, used to bea creative director at Almap/BBDO, so he is able to act as abridge between the agency and the production.”

Jan Roldanus of GreenGo Films found himself on a beachwith a 15-metre mock-up whale last month. “It was a job forLU’s Prinz biscuits where the story is about the amphibian beingsaved by a group of kids who make a huge surfboard in orderto refloat it. “In terms of complication, though, the BP Sumocars spot was quite a challenge. It involved cars on a roundplatform floating in the sea having a sumo-style contest, tryingto push each other into the water. Another complex job was forEA Sports where we had to recreate a judo scene, a kick-box-

rMiami Ad School - Letraset

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ing scene, a US stadium and a Brazilian scene, all in three days.The stadium scene was achieved with rows of bleachers in asix-sided stadium and 200 extras, which was then made tolook like a crowd of thousands in post-production.”

GreenGo also made a spot for the film Rio, which hadJamie Foxx on the beach in Rio de Janeiro, descending on a zipline, in costume, into a pool of blue feathers.

According to Steve Solot at the Rio de Janeiro Film Com-mission, his office is being bombarded with shooting requests.“Since the end of filming of Fast & Furious 5 last November, ithas been non-stop. And on top of that, the film Rio has reallyfocused people’s attention on this city’s great sites and touristspots, which has had a very positive effect generally.”

Although the city’s favelas may seem to still be no-goareas, Solot sees them very differently: “There is a very active‘pacification programme’, fully supported by the state secre-tary of security, which is working very well because it is beingdone with real imagination. For example, there was the FiveTimes Favela film, which featured stories of and by favela dwellersdid well at the Cannes Film Festival and is changing outsiders’opinion of these areas, but one of the most significant changeswas the installation of a 3D cinema in a favela known as Ale-mao, where the locals get a discount. The positive effect it hashad on the community is quite remarkable. And it’s importantto remember that the favelas are not just shanty towns, theyare a huge source of labour for the city.”^

nThe Santa Casa 5% campaign

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

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

Another widely held idea about the country that is, how-ever, true is that the Mexican advertising sector has not yet foundits own form of creativity. “Being such a close neighbour to theUS has tended to make agencies mimic what they see across theborder, because it is regarded as aspirational,” says AlejandroCardoso, CEO of Publicis Latin America. “So despite the factthat Mexico has deep roots in art, architecture and film, and hasits own very individual sense of colour, we are not seeing thatexpressed in ad campaigns. But it’s something I feel very deeplyabout and I’m committed to changing it.”

Change is partly being forced by the arrival of the greateraccountability that comes with digital technology. “Digital isgrowing fast and the work is evolving rapidly,” says Hector Fer-nandez Maldonado, joint-general director and vice-president ofcreative at Publicis Mexico. “What is changing is that agenciesare increasingly interested in pleasing consumers as much asclients. And since digital started to erode the dominance of TV,they are very bothered about what they say about brands, espe-cially when it goes viral.”

He adds: “We are very optimistic about the future. Whatwe’d really like to see is Mexico better represented at events likethe Cannes Lions.”

The Mexican Association of Filmmakers (AMFI) has beenworking for the last 30 years with a group of commercials pro-ducers dealing with production-related issues in Mexico. Thisentails developing tools and criteria to improve and profession-alise the industry and to negotiate, as a group, benefits for itsaffiliated producers.

“Mexico’s production standards are very high,” says Car-los Barrón Noé, director general of AMFI. “Mexican techniciansand production crews have always been among the best quali-fied in the world, thanks to our motion-picture industry and theproduction services we provide to foreign clients, especiallythose from the US.”

AMFI members also work in the production of local ads,which is a large market comprising about 3,500 TV commercialsa year for national broadcast. “We believe the volume of localspots will grow considerably over the next few years thanks tothe spread of cable TV,” Barrón Noé says.

One of Mexico’s most valuable resources is its people. “Ourmembers range from well-known directors through to youngdirectors at the beginning of their careers who are doing inter-

Talking upMexico

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esting things,” Barrón Noé, says. “We have production compa-nies for all tastes and requirements. And, as I just mentioned,the quality of our technicians is also a significant attraction forproducers who are thinking of coming to film here in Mexico.”

Mexico’s geography and climate — two essential elementsin the production business — are also a great advantage. BarrónNoé elaborates: “We have deserts and tropical rainforests, theCaribbean and the Cortes seas, and our architecture goes fromcolonial houses to state-of-the-art, intelligent buildings. To behonest, you can find almost any location you need in Mexico,”he says. “And we also have a good infrastructure, with the mostmodern sets, audio studios, post-production services, restaurantservices and equipment-rental services.”

There is also a valuable tax-exemption programme andAMFI now has total support from the country’s film commis-sion. “On top of that, Mexico is in a very strong geographicalposition, being close to the US and easy to reach from both Europeand Asia. All of these elements make filming in Mexico a greatexperience,” Barrón Noé says.

Given the number of negative stories about Mexico’s war-ring drug barons, worries about security are a major concern forAMFI.

“This is an important issue and, at the moment, there aresome places we wouldn’t recommend for filming purposes,”Barrón Noé admits. “But we are talking about only a very fewplaces along the border with the US. Mexico is a big country anddrug-related violence is located in very specific areas. So sayingthat it’s not safe to film in Mexico is a bit like saying you should-n’t work in the US because of tornados. You certainly don’t wantto be working in tornado country during the tornado season,but that does not mean you have to avoid the whole country.The same thing goes for Mexico. There are some areas you shouldstay away from, but most of the country is perfectly safe.” ^

nPublicis’

AlejandroCardoso:

committed tochange

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rGucci campaign by Filmmaster

Filmmakers love Southern europe. It boasts a bewilderingvariety of location types, micro-climates and coastal areas— and the region is also finding that the tightening of industrybudgets plays to its natural strengths. Gary Smith reports affair

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COMMERCIALS AND PRODUCTION SERVICESMILAN · ROME · MADRID · DUBAI ·

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W HILE life in Greece right now may be tem-porarily less stable than the locals would wishit to be, the economic situation is driving localproduction companies to raise their game aftera decrease of about 30% in turnover last year.

“Business was slow,” admits Spiros Mavrogenis, executiveproducer at Lynx and president of producers’ association PACT.“But to address the crisis, production companies are trying tofind creative solutions for agencies and brands at reduced costsin order to keep business moving.

“This effort seems to be having beneficial effects and, pro-duction-wise, Greece is one of the most cost-effective countriesin Europe thanks to the combination of highly professional crews,one of the mildest climates in Europe.

“Greece is currently a rapidly growing production servicedestination because the crisis, and the consequent price reduc-tions have become a challenge for local production service com-panies who are determined to make the country even more attrac-tive than it already is.”

The majority of foreign work comes from France, Germany,the UK, Italy and Poland, with Russia, the US, Japan and theMiddle East also regular visitors:

“There also seems to be a growing interest from Scandi-navian countries,” Mavrogenis says. “In terms of sites, the Olympicfacilities are still quite popular, especially the Olympic stadiumby Santiago Calatrava. But, apart from the famous and obvi-ous places such as the ancient ruins and the iconic Cycladic

islands, Greece has a lot more to offer. We have a very widevariety of locations ranging from mountains, canyons, lakes,rivers and large fields, through to impressive modern interi-ors, plus both modern and classical exteriors, covering mostlocation requirements.”

Tenerife and its surrounding forest and volcanic landscapesare among the most striking in southern Europe, unlike any-thing else in the region. It also offers a variety of roads types andsurfaces which have made it a firm favourite for car adverts.

“There is a pine forest in Teide national park where thetrees are arranged in long, perfect straight lines, which is a pop-ular location, and then there other parts of the forest which aredenser and wild-looking,” Concha Diaz, Tenerife film commis-sioner, says. “And cutting through them we have so many differ-ent styles of road, which is why this year we have had shoots forNissan, Ford, Toyota, Ducatti and Lancia.”

nThe Lancia shootin Teide nationalpark, Teneriffe

“PRICE REDUCTIONS HAVE BECOME ACHALLENGE FOR PRODUCTION SERVICECOMPANIES WHO ARE DETERMINED TOMAKE THE COUNTRY EVEN MOREATTRACTIVE THAN IT ALREADY IS”

Spiros Mavrogenis, Lynx

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what needs to be improved to take the island and the film com-mission office to the next level. We have a strong base to buildon from what was done previously, but I intend to further improveour offer.”

Recent shoots in Malta include a spot for MasterCard, asix-day shoot for French Connection UK and a spot for Italiantuna brand Tonno Nostromo.

Karim Bartoletti, partner and executive producer atMilan/Rome-based Filmmaster, and a member of this year’sFilm Craft jury, is currently involved in the radical transforma-tion of a company whose core business used to be largely local.“Filmmaster is 35 years old this year, which, compared to thenormal lifespan of a company in this sector, is quite exceptional,”he says. “But our business is changing so profoundly and so rap-idly that we have adopted a completely different mind-set.

“Given the fact that a lot of the local business has collapsed,instead of thinking of ourselves as an advertising productioncompany, we have become ‘a production company based in Italy’.One of the reasons we did that is because our business has becomeglobal. We get calls from all over the world, we shoot all over theworld, we do service jobs for companies across the world, andwe also source directors from all around the world, and thatmakes the boundaries of our business almost non-existent.”

Although the company’s focus has become much moreglobal, Gucci and Pirelli are two regular and important clients.

“GIVEN THE FACT THAT A LOT OF THELOCAL BUSINESS HAS COLLAPSED ... WE

HAVE BECOME ‘A PRODUCTIONCOMPANY BASED IN ITALY’”Karim Bartoletti, Filmmaster

On top of that, the island’s dramatic, lunar look is current-ly playing host to the set of Clash Of The Titans II. “Although per-haps Tenerife is best known among the advertising communityas a great place to shoot cars, we also attract plenty of otherproduct categories,” Diaz says. “Recently Nestea shot a cam-paign here for Germany, National Geographic and also Sam-sung have recently shot a spot. Generally, business has been verygood so far this year, with 36 productions up to the end of March.”

Newly appointed Maltese film commissioner Peter Busut-til reports that the island has been having an excellent 2011with, among other major productions, the whole of the HBOseries Game Of Thrones being filmed on Malta and in Ireland.

“We have also recently welcomed several Italian TV moviesand series, as well as The Last Romans, which was a Russianproduction, plus generally we are seeing more productions fromIndia,” he says. “The latter is not yet a question of big Bollywood-type projects but that sort of thing is of course what we are aim-ing to attract here, after several interesting but lower-budgetproductions used the island.”

After a total of 297 filming days in 2010, there have beenmore than 200 already this year. “We have Sky TV filming the13-part series Sinbad at the moment, and they’ll be here until2012,” Busuttil says. “And Brad Pitt’s new feature film, WorldWar Z, will be shooting here imminently. Malta has so manyamazing locations, but one aspect that I think people overlook isthat this is a great place to be when you’re not on set. The cast ofGame Of Thrones were here for long periods and I know theywere perfectly happy to stay on the island when they weren’tneeded on set, because there are so many ways to relax and havea good time here.”

That said, Busuttil is aware of the island’s limitations inother areas: “We still have room for improvement in plenty ofways. Although we have the infinite-horizon water tanks, westill need a proper sound stage in order to be able to provideeverything that a movie needs. We know what needs doing and

nFilmmaster’s

spot for Pirelli

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“Those two companies present perfect examples of how our busi-ness has been transformed by changing technologies and instan-taneous communication. We have a long-established relation-ship making spots for Gucci, and their agency, REM, asked us tomake a stills-based behind-the-scenes [BTS] record of one oftheir print campaigns by German photographers Mert and Mar-cus. The work has since become more complex, and we haveended up making a video version of the BTS that complements

and relates to the print campaign. “And for Pirelli we were askedto make a corporate film that could also serve as advertising,and which reflects both the company’s five-year plan as well ashow cool the brand is, and their range of tyres. It was shot fromthe point of view of the tyres across multiple terrains.”

In Spain the local market is also “very quiet”, according toTF7-TV executive producer Ivo van Vollenhoven. “Local jobs arepretty scarce right now, and most of our work recently has beencoming from the UK thanks to the run-up to the Olympic Games,plus we also have a steady stream of jobs from Harry Tracosas’sGlobal Production Network,” he says.

“But our most challenging job in the last year was Nike’sWrite The Future campaign, directed by Alejandro Gonzalez

Iniarritu (21 Grams, Nine Lives, Beautiful). The production wasbased in Madrid because Ronaldo was a key part of the plot, buttrying to get all the other players and actors like Wayne Rooney,Didier Drogba, Frank Ribery, Ronaldinho plus Kobe Bryant andRoger Federer there at the same time was never going to be easy.

“On top of that, the weather was so bad we had to re-sched-ule, and find an indoor arena that could be made to look like anoutdoor football stadium in post-production. Eventually we end-ed-up shooting for 13 days instead of five, but the end result wasspectacular and the film is in competition at Lions.”

TF7-TV also shot mini-documentary The Imposter with

director James Marsh (Man On Wire) about a professional con-man who impersonates adolescents who have disappeared. Heends up being adopted by a family who have killed the son theyclaim has gone missing. “There were a number of challengesincluding a small budget and only eight shooting days, but I’mproud of what we achieved.”

Paula Mattei, international director for Spanish servicecompany Puente Aereo, is based in Buenos Aires but has been

charged with broadening the international busi-ness of a company that previously largely drewits business from Spanish agencies.

“I’m selling the company’s directors allover the world alongside a colleague in theBarcelona office,” she says. “Puente Aereo wasalways well known for its directors, which includespeople like Felix Fernandez de Castro. Felix wasone of the original founders of the agency SCPFand is one of the most admired directors in Spain.He recently shot a beautiful spot for Iberdrolaover five days in Asturias, Guadalajara, Valle deAran, Madrid and Salamanca.”

Other work from Puente Aereo currentlyon show includes a spot for Pepsodent by Sebas-tian Alfie. “It was shot in Argentina as well as inJakarta and India,” Mattei says. “It’s particular-ly memorable for the scenes with the father andson who are constantly in the bathroom groom-ing themselves.”

In Portugal, Margarida Adonis of ReadyTo Shoot reports steady business over the lastyear, mainly from the UK, US, Japan, Brazil andSpain. “We only do international shoots and ingeneral we work with producers from prettymuch everywhere in the world,” she says. “We

recently worked on a huge worldwide campaign for an alcoholicbeverage that I can’t name at the moment. But I can say that thecampaign is huge and beautiful, and a bit crazy. We also havejust shot a Latin American campaign for Rexona and one for theMeteor Travel Agency in Ireland.”

But Ready To Shoot’s most complex job of recent monthswas three web films for Aston Martin. “We were working withSerious Films and only had three days to get the job done. Thatwould have been a tight schedule anyway, but then Barack Oba-ma was in town for a UN meeting, so the security was very intense,we were not able to close roads as we would normally have doneand, to top it all, our helicopter was shadowed constantly by thesecret services who were also listening to our radio communica-tions. This was not entirely surprising, as the films involvedexplosions and fake guns, but it was a truly surreal experience.”

Other recent shoots include Renault Korea, Samsung Lim-ousine, a VW spot, Movistar for Spain and a Tylenol spot withdirector David Cornell.

Eduardo Palacios, of Valencia Spectrum, operates betweenValencia and Miami. “I spend the Spanish winters over there,but I have to say that Valencia is extremely well equipped,” hesays. “The Ciudad de la Luz has one of the biggest sound stagesin Europe. Right now we are seeing a lot of business from the UKand more shoots from the US now that the dollar is getting stronger.”

Palacios is currently involved in trying to put together alocal association of advertising producers. “There are five mem-bers at the moment and the inspiration behind the idea is thatthis area has so much to offer, we think we can better publicisethat with a group effort,” he says. “We have great local talentthanks to the fact that there have been waves of immigrationfrom France, Romania and the UK.

“There are all the facilities of Ciudad de la Luz and I cansay with confidence that the technical offer here is every bit asgood as Miami; the only difference is that there is more competi-tion over there. There is also an excellent variety of architecture,to the point that we can easily do Paris and have even managedto get a low-rise Manhattan look for a couple of spots.”^

“TRYING TO GET WAYNE ROONEY,DIDIER DROGBA, FRANK RIBERY,

RONALDINHO PLUS KOBE BRYANT ANDROGER FEDERER THERE AT THE SAMETIME WAS NEVER GOING TO BE EASY”

Ivo van Vollenhoven, TF7-TV

nDirector FelixFernandez de Castroshot this spot forIberdrola over fivedays in Asturias,Guadalajara, Valle deAran, Madrid andSalamanca

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

IS THERE any connection between the eco-nomic crisis and creativity? nobody knows for sure, meincluded. but one thing i’m certain of: the recession inwhich portugal will spend the next few years will notdiminish the creativity or imagination of our advertisers. a

country and a market of our size has this advantage: actually,we do not know what it is to live without being in a crisis. andthat’s a huge advantage for us over our competitors. creativity,efficiency, imagination and art do not depend on more or lessmoney or more or less investment. 

does a growing market, eventually, facilitate talent? undoubt-edly. but also some waste. and waste is a luxury that the por-tuguese cannot afford to have in the coming years. talent existsand will be exploited more effectively in coming times. 

even politicians have realised it. and when politicians findthings quickly, everyone should stop and think why. even adver-tisers.european politics is a fantastic example of creativity. despite thefact that these days the european project is somehow unhealthyand the future seems bleak, this crisis proved that politicians aresome of the best advertisers in the world. 

for years the word “restructuring” was banned in europe. sov-ereign debt restructuring, of course. the word was banned andthe mechanism to do it as well. but as the problem was growingand restructuring gained momentum; the solution found wasbrilliant. 

last month, european politicians have started talking aboutdebt reprofiling. reprofiling? yes. i bet that the reader had nev-er heard of it before and the reason is simple. because reprofil-

ing did not exist in finance or politics. but now it exists and inpractice means the same thing as restructuring. 

the word caused a huge buzz and confusion. reuters dida piece entirely dedicated to reprofiling. economic newspapersdedicated full pages and tons of articles to discussing the word.i like this example because reprofiling is a great idea. it avoidsthe forbidden word and invents a new way to face the marketwith redoubled confidence. it was a super rebranding of thedebt crisis in europe. a great idea. 

but, as in everyday advertising campaigns, having a goodidea or theme is not enough. you have to find a way to reach theconsumer in order for them to buy your product or service. it’sthe same with politics.   if brussels eurocrats do create and sus-tain a policy as innovative as the word they found to define it(reprofiling), then we’d go from a big idea to a possible sell.

see you all in lisbon in november for eurobest 2011!!^

reprofiling the crisis

reprofiling is a great idea. itavoids the forbidden word and

invents a way to face the marketwith redoubled confidence

ricardo costa

UPDATED ALL DAY, EVERY DAY. THE OFFICIAL CANNES LIONS NEWS WEBSITE

ACCESSALL AREAS

www.lionsdailynews.com

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FRIDAY, JUNE 24,2011

To the uninformed, a film commission is there toissue filming permits where you turn up to shoot inanother state or country. But these days they areproactive, attracting stills and commercials shootsto their regions, as well as movies — and they havea lot to offer on the creative side too. Debbie Lincoln reports

Hello? We need a Thaifloating market, and fast!

ILM Commissions can be a valuable resourcefor commercials producers. They are there toease the pain of shooting, and can help with iden-tifying locations, preparing and granting per-mits and even cast and crew.

Las Vegas-based Charlie Geocaris, from the Nevada FilmOffice expects to see 40-50 commercials shoots each year in hisregion, representing about 15-20% of total location shooting inthe area.

“We specifically try to attract commercial productionsthrough advertising and other target marketing,” Geocaris says.Popular locations for commercials include the famous strip inLas Vegas, as well as dry lake beds, the roads in the Valley ofFire and Red Rock Canyon, Lake Tahoe and Lamoille Canyon.“We see a variety of different types of commercials but automo-bile and truck commercials are the most popular,” he says. Arecent example for which the film office provided location scout-ing and permitting assistance, was a spot for Dodge autos.

The film commission in Saskatchewan, Canada, is alsoable to source a variety of open spaces for commercials shoots.

“’Land of the living sky”, is on every Saskatchewan license

fA floating marketconstructed in

Indonesia for theAmsterdam-based

Balsa Films’ shoot forclient Conimex,

directed by OthmarFreder Sweers, andproduced by John

Langeveld

F

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plate,” SaskFilm’s Tobi Lampard says. “The open prairie to thenorth, forests, the endless horizon is the calling card ofSaskatchewan. The climate offers long sunny days in the sum-mer and crystal clear skies over pristine snowy winter land-scapes days. Over recent years ad agencies have achieved beau-tiful looks for variety of clients that include the provincial power,energy, telephone and cable companies.”

She adds that SaskFilm’s goal is to help find the locationthat works for creatives, regularly emailing links to photos fromits location library for quick review. The film office also boasts afilm-friendly attitude in the sate.

Indonesia also uses the variety and availability of its loca-tions to lure commercials producers to the area. The Bali FilmCenter’s Deborah Gabinetti cites “the diverse range of loca-tions, varied architecture, abundant crops (coffee, cocoa, coconutand tea plantations), unique flora and fauna, vast water-basedareas and the number of different ethnic groups,” as her region’smain attractions. She also echoes Nevada’s Geocaris with herestimation that commercials represent some 20% of all inter-national filming in the region, at around 20 per year. A recentshoot was for Netherlands-based Indonesian food brand Con-imex. Balsa Films from Amsterdam ran the shoot for the spotwith director Othmar Freder Sweers and producer John Langeveld.

“Our office facilitated the national and provincial per-mits, local permissions, provided research, locations and cast-ing services,” Gabinetti says, adding: “We also have an extreme-ly gifted pool of craftspeople able to recreate almost anything.”The Conimex shoot called for locations to represent a contem-porary Dutch kitchen and Balinese traditional market, and mim-ic a Thai floating market.

According to Elliot Au from The Hong Kong Film ServicesOffice (FSO), the city state was the first place in Asia to estab-lish a film services office (FSO), opening in April 1998 to pro-mote Hong Kong’s film industry. “The FSO provides one-stopservices on location filming for film crews, including sourcingsuitable locations, assisting in obtaining filming permits, secur-ing location venues for filming, as well as regulating the use ofpyrotechnic special effects materials, Au says, adding: “Since2009, the FSO came under Create Hong Kong, a dedicated agencyto champion and drive the development of the creative econo-my in Hong Kong.

fAnnabelle Aronis,executive producer,Avion Films: “Greeceoffers sound stages from1,200m2 to 200m2 withexcellent set buildersand support”

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

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The Hong Kong FSO also encourages visiting producersto hire the services of a local fixer for transportation, accommo-dation, and casting help.

“We are very interested in attracting a lot more interna-tional advertising to Jordan, as it provides some amazing untappedlandscapes,” Linda Mutawi, production services manager atThe Royal Film Commission-Jordan (RFC), says, adding: “Jor-dan is well known for amazing hospitality and the skilled work-force is very efficient. Also, filming in Jordan is considered verycost effective, and has the added benefit and support that theFilm Commission offers, such as access of free publice loca-tions, assistance with scouting and securing locations, customexemptions on equipment imports, no income taxes on foreigncast and crew, liaison officers, and help with government paper-work.” Mutawi estimates that 30% of shoots in Jordan are forcommercials, between 20-30 per year.

A recent shoot to take advantage of this help was for Indi-an telco Micro Max, produced by Curious Films for Lintas Lowe.“Since in TVC involved lots of pyrotechnics and use of weapons,the RFC was instrumental in importing and liaising the rentalof these materials through the army and police, as well as pro-

viding a police presence on set,” Mutawi says.“Our Film Commission is pretty new,” Lucila Bortagaray,

of the Uruguay Film Commission & Promotion Office says, butit already participates in several expos and markets to promotelocations. “Our main incentive is a VAT exemption of 22%,” shesays, along with diverse landscapes and eclectic architecture,including “colonial style, through Art Deco up to futurist struc-tures such as Carrasco’s new International Airport”. The areasees a high percentage of commercials, 110 in 2010 in Montev-ideo alone.

The Mexico City Film Commission is also relatively new,but within its two years of operation has established a presenceat events in South and Central America, the US, and Spain. Fer-nando Uriegas, general director of the Mexico City Film Com-mission estimates that 27% of some 1,780 shoots in the city arecommercials. “We promote Mexico City in both national andinternational ways. We have been assisting at several festivalsto offer all the production services that you can find in MexicoCity. We are also developing online tools where you will be ableto find locations, production services, production companiesand all the permit information,” Uriegas says. Recent produc-

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FILM COMMISSIONS 61

n Fernando Uriegas,general director,Mexico FilmCommission: “Thereason that Mexico Cityis a perfect place toshoot is due to therichness and varietiesof locations. You canfind pre-Hispanic,colonial and modernbuildings”

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tions in the Federal District of Mexico City have been for Volk-swagen, General Motors, Panasonic, and Trident — and mostcommercial shoots are for TV. The Commission gives guidanceto crews, and also offers alternative suggestions when needed.“We also have all the contacts with public authorities and insti-tutions to help them during their production.”

Markos Holevas from Greece’s Hellenic Film Commissionsays that while his office doesn’t have a dedicated policy direct-ed specifically at commercials producers, it can help with arrang-ing shoots in Greece, and has been working with the Film Officeof the City of Athens to facilitate shoots. Recent examples ofsuccessful shoots in Greece include TVCs for Infiniti, Samsungand Omega, by Green Olive Films. The company’s executiveproducer, Simos Manganis, says: “In recent years we estimatearound 150 shooting days annually in high-end professionalformats for commercials and TV; for commercials we anticipate70 shoot days per year.”

The attraction of Greece for commercials producers issummed up by Athens Central Film Productions executive pro-ducer Andreas Tsilifonis: “Great weather with low precipita-tion; long daylight shooting days; convenient short flights fromall European capitals; multi-ethnic casting options; experiencedEnglish-speaking crews; a wide variety of locations, includingseveral sport stadiums from the recent Olympic Games; andlast but not least, the lowest rates in Euro zone.”

Annabelle Aronis, executive producer at Avion Films, saysthat in recent years, Greece has been attracting commercialsthat don’t only require clichéd Greek locations, like temples,white houses and beaches. “Greece is also attracting commer-cials that have other location requirements — for example con-temporary interiors and exteriors, urban landscapes, roads forcar commercials, and Northern European nature including lakes,rivers, mountains,” she says. “Not to mention shoots in studioswith big set builds, as well as table-top productions with motioncontrol and mock up construction.”

Pierrette Baillot from the Brussels Film Office in Belgiumsays that her office strives to “create a frame to guide the com-mercial producers”, especially concerning the problems of shoot-ing in busy cities where timing is an important factor, specifical-ly where permits are concerned. She also stresses that “harmonywithin local neighbourhoods” is important to ensure that thecity remains film-friendly.

For a recent shoot for a TV commercial for food brandNutella, the Brussels Film Office negotiated with police author-ities, in their offices, to arrange closing streets and reservingspace for parking.

These negotiation skills, sensitive to a local area, are pow-erful components in the toolbox of film commissions aroundthe world, and Baillot identifies another attractive offer: “Ouroffice’s services are free of charges.” Slam-dunk.^

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nGreece’s Green Olive Filmsserviced theOmega shoot withASAP Productionof Italy for agencyEye to Eye

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IT IS not hard to see why ad agencies and commercialsproducers are drawn to Central and Eastern Europe.From classic and iconic architecture to stunning scenery,the region has it all. Not only that, but there are talent-ed, hard-working, cost-effective and multilingual pro-

duction crews. Compared with western Europe, shooting is atleast 30% cheaper, and sometimes as much as 40-50%.

Of course, all this begs the question where to shoot. If youinclude Russia and Ukraine, there are about 21 countries com-peting for work — many of which are able to put forward astrong case.

A good starting point is the Czech Republic and Hungary,which have set the standard in the region for the last 20 years.Attractive locations, good crews, professional casts and mini-mal bureaucracy are givens in both markets. Add to this the factthat many global ad agencies have their regional HQs in Pragueor Budapest, and there’s a clear logic to shooting here.

To understand the Czech Republic’s strategic significance,you only have to look at a map. Adjacent to Germany, Prague isactually west of Austrian capital Vienna, which makes it a per-

fect staging post for agencies and brands with ambitions in theeast. No surprise, then, to find Publicis, Omnicom and WPP allactive, alongside regional agency players such as Kaspen/Jungvon Matt.

Typical of the production talent pool in the Czech Repub-lic is Zoom Films, whose portfolio includes work for interna-tional brands such as Samsung, Hyundai, Bavaria, Kraft Choco-late and Haagen Dazs. No less significant are campaigns forbrands closer to home, such as the 2011 shoot for Czech bot-tled water brand Aquila Aqualinea (a campaign managed byArnold Worldwide).

Of course, Prague is known enough that campaigns don’thave to be orchestrated from within Europe. A classic exampleis a recent Prague shoot for the LG Optimus One. Here was aKorean brand, managed by a China-based agency (BBH Shang-hai), using a US director (Backyard’s Rob Pritts) to shoot fivecomic spots (Instant Expert) for the international market.

That’s a pretty good endorsement of the city’s capabili-ties. And there’s one bonus for directors like Pritts, which is thatthe city is far more film-friendly than Backyard’s hometown,

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FOCUS ON CENTRAL & EASTERN EUROPE 65

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

Go east,pay leastn Wroclaw in

Poland, animportant centre

for productionthat has doubledfor 19th century

Amsterdam

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Los Angeles. “These spots would not have been possible in LAunless we were working on a back lot,” Pritts says. “The city isso film-friendly — if cars are parked on the streets, they movethem with an enormous machine, then put them back on theiroriginal positions when we’re done, without towing or ticket-ing people.”

In Hungarian capital Budapest there’s a similar set-up.Here, you find regional offices for agencies such as Leo Burnett(Publicis), McCann Erickson (IPG), Euro RSCG (Havas) andO&M (WPP). Operating in parallel are production companiessuch as Extreme Film, set up by producer Dalma Hidasi in 1994and now working for local and international brands. Amongthe latter, Extreme can count Danone, SABMiller, Bacardi, Miche-lin and Nestle. Echoing the situation at Zoom Films, there arealso heavyweight TV campaigns for local brands such as mobileoperator Pannon GSM.

David Ungvari, producer/director at Budapest-based BPPS,says: “Hungary has great crews, awesome locations, low wagesand a favourable tax system [for films]. At BPPS, we can offerfull production services, meaning everything from locationscouting through to world-class post-production. ”

Like the Czech Republic, Hungary also boasts a stunningcapital. “Budapest is a city with many faces. From one angle itcan look like Paris, from another London or Berlin. It is proba-bly the most eclectic city in Europe. A modern glass office blockcan be situated by a 100-year-old near-ruin and a ’60s build-ing.”

While there’s not much between the Czech Republic andHungary, the latter is probably the better developed, with moreproduction companies on the ground and a slightly superiorinfrastructure. This is most evident in terms of studios, Ungvarisays: “The constant rivalry between Prague and Budapest hasresulted in immense investments in Hungary, to regain its mar-ket-leader position. Two large studios emerged in the past five

years [Etyek and Raleigh]. Both offer world-class sound stages,their sizes unmatched in the region. Etyek has the largest soundstage in the world. Hellboy 2 was shot there in its entirety.”

Given the strength of the Czech and Hungarian offering,how do other countries in the region try to win business fromthem? Generally there are two arguments. Firsty, that Czechand Hungarian locations have been over-used and fresh (butsimilar) images can be found further afield, Second, both mar-kets have become expensive in recent years. Elsewhere you canget a 20-40% cost reduction.

One location proving increasingly popular for interna-tional shoots is Serbia. Back on track after the Balkan conflict,the country is open for business in a big way, says Milos Djukel-ic, of Red Production. With offices in Serbia, Montenegro andCroatia, Red has provided production services for more than400 commercials over the last seven years for clients such asHenkel, T-Mobile, Interbrew, Unilever, P&G, Societe Generale,Siemens, Tefal and Pepsi.

Equally passionate about what Serbia has to offer is Bozi-dar Djokic, of Belgrade-based Emote Productions, a companythat works across feature films and commercials. What are thebenefits? “Serbia is 30% cheaper than territories such as Hun-gary, Czech Republic, Romania, Bulgaria, Slovenia, Croatia andGreece, while providing a high-quality infrastructure, work-flow, facilities and locations,” Djokic says. “Serbia has outstand-ing talent in photography, set design, costume, make-up, thanksto having one of the strongest film industries in south-easternEurope.

“Our crew and talent have worked on films with RidleyScott and Luc Besson. At Emote, we produce quality commer-cials for domestic and international clients. Our MTV spotslast year won the David award for Best TV Commercial withinOgilvy’s European branches. This year we have spots compet-ing at the YDA and Fireflies competition in Cannes.”

n Superdog spotfrom the PannonGSM campaign inHungary

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In addition to low production cost and great crews, djo-kic talks up the locations: “we shoot in montenegro, the moun-tains, the seaside, everywhere. the good thing is that all ofthe locations are very easy to reach from belgrade. serbia isan unbelievably film-friendly community; licences, helicop-ters, closing down of streets, squares, tunnels, getting planes,it’s easily attainable.”

one person well placed to judge the competing claims oflocations is laurent grousset, a senior consultant with birdbonette stauderman. grousset, an expert on production prac-tices and cost management, has not yet visited serbia, but hehas been working in other former yugoslavian territories suchas slovenia and croatia. “the first thing you always think aboutis the story, but after that it’s the cost and the quality of thecrews. for me, slovenia and croatia have both been good loca-tions.”

other markets grousset has visited in the last couple ofyears include romania, bulgaria and ukraine. the last is par-ticularly interesting, because it has in recent years started emerg-ing from the shadow of the old soviet union. today it is hometo a handful of top-notch production companies including psb-films, a 10-year veteran which has produced domestic andinternational spots for the likes of p&g, samsung, pepsi, stellaartois, kraft foods, unilever, danone and toyota.

based in kiev and odessa, just two hours from any westeuropean city, psb offers production service in english, ger-man, french and hebrew.

arthur fleshtor, at another leading ukrainian commer-cials producer, gulliver, expands on the market’s appeal: “for-eign companies like to work with us because of the balancebetween quality and price. at gulliver, we have the equipmentbase to suit any demands. we also have many local directors,dops and good post-production, all of which makes ukraineattractive.”

In addition, fleshtor believes that ukraine has an advan-tage in locations. “our territory is quite large, so it goes acrossdifferent climate regions. we have the carpathian mountains,the black sea, beautiful cities and nature. all of these elementsmean that you can find any solution for any shoot.”

among other former soviet satellites attracting attentionis latvia. emerge film solutions, a commercials productionconsultancy, is positive about the baltic state, calling it “a film-friendly country where permits take usually no more than aweek”.

with a variety of rural and urban locations on offer, latvia,emerge says, is a head-turning 40% cheaper than the czechrepublic. In terms of locations, part of latvia’s appeal is capi-tal riga’s historic city centre, which can double as paris or vien-na. like ukraine, it can also offer stark soviet-style architec-ture. not to be overlooked, either, is the remote beauty of itscountryside.

In 2009, when creative agency nitro and producer acad-emy films wanted a scottish location for a drambuie spot, theychose latvia because of its low costs and good production val-ues. with the help of local service company baltic pine films,the ad was shot near kishezers, a major lake on the outskirts ofcapital riga.

other companies operating out of riga include film angels,

“If cars are parked on the streets,they move them wIth an enormous

machIne, then put them back ontheIr orIgInal posItIons”

rob pritts, backyard

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whose current showreel includes automotive brand skoda.then there is russia itself. While the country is geograph-

ically out on a limb, there’s no question that it is becoming aforce to be reckoned with in the advertising business. in part,this is because of the diversity of its architecture and locations— everything from the kremlin and Bolshoi to mountains,lakes and tundra. But just as significant is the value of the domes-tic economy, which is proving a big attraction to brands andagencies, most of which have offices in moscow. it’s no acci-dent, for example, that russia will be represented by 295 worksin Cannes this year. or that a leading agency such asBBdo/moscow is making as many as 200 commercials a year.

in terms of production talent, russia can boast compa-nies including Just production (clients include american expressand siemens), park production, (Coca-Cola, heineken, lG,mars, etc) and Bazelevs, which has recently produced spotsfor nissan tilda, nike air max (featuring andrey arshavin)and kit kat. the latter ad, directed by Cannes lions gold win-ner Joachim nielsen on his fourth visit to russia, demonstrat-ed the can-do attitude of russian crews.

it was shot in front of the hotel ukraina at the height ofmoscow summer heat, and nielsen insisted on a stunt whichsaw the central actor dropped from height into an armchair -something lesser mortals might have achieved using comput-er graphics.

for Bazelevs’ iva stromilova, executive producer incharge of movies and commercials, there is no doubting thecalibre or enthusiasm of the local talent. But for her, shoot-ing in russia offers more: “here in moscow you have every-thing a civilised production should have. But on top of thatyou get to shoot in the most picturesque locations, meet themost beautiful russian women, and go to fun night clubsand great restaurants!”

of course, it’s important to stress that the Czechs andhungarians haven’t been sitting back complacently while newmarkets promote their cause. Zoom, for example, now offers achoice of locations in the Czech republic, slovakia and Croat-ia. not only does this widen the range on offer, it also allows itto offer lower price-points. in hungary, meanwhile, companiessuch as Bpps are trying to reassert the cost-effectiveness ofshooting in that country. “hungary is still an inexpensive placeto shoot — particularly after the financial crisis,” ungvari says.“the prices haven’t changed all that much in the past few years.Bpps is a small company with extremely low operational costs,which is how we keep our overheads low. i would rather havemore jobs than a quick profit.”

if there’s a challenge for the whole of the Central andeastern european region, it’s that production companies inother parts of the world have also been getting cheaper as aresult of the economic downturn. Grousset says he has beengoing to eastern europe less in the last year “because produc-ers in markets like spain and france are willing to negotiate

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foCus on Central & eastern europe 69

lower prices than they used to. that comes at the same time asmany advertisers are looking to use more local people in theirads and shoot one campaign for a number of territories. so it isa challenging business right now.”

poland should be talked about more in the context ofcommercials production. after all, it is home to a vibrant agencyand production base. local production houses include tan-dem taren-to, easy hell, film Works, film it and lodz-basedopus (which reckons to shoot 60 international and local ads ayear). there are also post-production houses including theChimney pot, which has worked on spots for the likes of orange,danone, nestle, knorr and Zywiec.

part of the reason poland has been slower to gain profileis that it took a long time to shake off the grim image that stuckafter the collapse of the soviet union. even now, Warsaw lagsbehind prague and Budapest as a desirable destination.

that said, those in the know — such as emerge filmssolutions — talk up poland’s appeal as a rural and an urbanlocation: “there are three main cities of filming interest. War-saw, a modern city with a full variety of easily accessible urbanand suburban looks; krakow, probably the most charming andpicturesque city in poland; and Wroclaw, an important centrefor production that has doubled for 19th century amsterdam.”

there are reasons to be optimistic about the country’sprospects when it comes to commercials production. first, it isa much bigger market than the Czech republic or hungary(38 million vs 10 million each respectively), which means therewill always be a need for domestic ad production, even if serv-icing work is not strong.second, it is about to co-host uefa’seuro 2012 with ukraine, an event that will provide a massivestimulus to the local economy during the coming decade, andpresumably see a rush of commercials linking big brands tothe event. marcin herra, who is in charge of the polish half ofthe competition, is expecting one million extra visitors to cometo poland and spend €200m during the event. longer term,herra reckons the positive impact for the economy over thenext eight years will be €1.5bn-€2bn. in addition, herra believesit “gives us a chance to speed up development and modernisa-tion of the country. it is also a chance to improve our brand -the image of the country.”^

“We have the Carpathianmountains, the BlaCk sea,

Beautiful Cities and nature ... You Can find anY solution

for anY shoot”arthur fleshtor

65-69 central europe baf:25•01 front 24/06/11 22:01 Page69

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VISITTHEDEN+MAP8:25•01 front 20/06/11 17:55 Page 63

Page 73: Cannes Lions Daily Friday 2011

D6-AD:Layout 1 23/06/11 18:02 Page 71

Page 74: Cannes Lions Daily Friday 2011

FRIDAY 24TH JUNE 2011

GRAND AUDI / 09:00 - 20.009:00 - 9:40 Categories A01 - A05

9:40 - 10:40 Categories A06 - A15

10:40 -11:40 Categories A16 - A20

11:40 - 12:25 Categories A21 - A23

12:25 - 13:10 Categories A24 - A28

13:10 - 14:40 Category B01

14:40 - 16:00 Category B02

16:00 - 16:40 Category B04

16:40 - 17:20 Categories A01 - A05

17:20 - 18:20 Categories A06 - A15

18:20 - 19:20 Categories A16 - A20

AUDI A / 09:00 - 20.009:00 - 9:45 Categories A21 - A23

9:45 - 10:30 Categories A24 - A28

10:30 - 12:00 Category B01

12:00 - 13:30 Category B02

13:30 - 14:10 Category B04

14:10 - 14:55 Categories A01 - A05

14:55 - 15:55 Categories A06 - A15

15:55 - 16:55 Categories A16 - A20

16:55 - 17:40 Categories A21 - A23

17:40 - 18:25 Categories A24 - A28

18:25 - 19:55 Category B01

ESTEREL/ 09:00 - 20.009:00 - 10:20 Category B02

10:20 - 11:00 Category B04

11:00 - 11:40 Categories A01 - A05

11:40 - 12:40 Categories A06 - A15

12:40 - 13:40 Categories A16 - A20

13:40 - 14:25 Categories A21 - A23

14:25 - 15:10 Categories A24 - A28

15:10 - 16:40 Category B01

16:40 - 18:00 Category B02

18:00 - 18:40 Category B04

18:40 - 19:20 Categories A01 - A05

PROJECTION TIMETABLE

FILM SHORTLIST SCREENINGSFriday 24 JuneGrand Audi 09:00 - 20:00Estérel 09:00 - 20:00Audi A 09:00 - 20:00

Saturday 25 JuneEstérel 09:00 - 16:00Audi A 09:00 - 16.00

FILM CRAFT, TITANIUM AND INTEGRATED SHORTLIST SCREENINGFriday 24 JuneAudi K 09:00 - 20:00

Saturday 25 JuneAudi K 09:00 - 16:00

Please

note that the

fi lm shortlist will

also be showing

in the screening

lounge area

SATURDAY 25th JUNE 2011

AUDI A / 09:00 - 16.009:00 - 9:40 Categories A01 - A05

9:40 - 10:40 Categories A06 - A15

10:40 - 11:40 Categories A16 - A20

11:40 - 12:25 Categories A21 - A23

12:25 - 13:10 Categories A24 - A28

13:10 - 14:40 Category B01

14:40 - 16:00 Category B02

ESTEREL/ 09:00 - 16.009:00 - 9:40 Category B04

9:40 - 10:20 Categories A01 - A05

10:20 - 11:20 Categories A06 - A15

11:20 - 12:20 Categories A16 - A20

12:20 - 13:05 Categories A21 - A23

13:05 - 13:50 Categories A24 - A28

Timetable+z.indd 72 23/06/11 21:35

Page 75: Cannes Lions Daily Friday 2011

www.DGit.com

©2011 DG FastChannel, Inc.

We can take your work just about anywhere.

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D6-4deCouv:25•01 front 23/06/11 16:55 Page II

Page 76: Cannes Lions Daily Friday 2011

LIONS 2011 DAILYNEWS

PUBLISHED BY BOUTIQUE EDITIONS - WWW.LIONSDAILYNEWS.COM FRIDAY, JUNE 24 , 2011

D6-4deCouv:25•01 front 23/06/11 16:55 Page IV