The 52nd annual Cannes International Advertising Festival is quickly approaching–the weeklong event is scheduled to take place June 19-25. Overall entries to the festival, which this year includes two new categories–Radio Lions and the Titanium Integrated Lions–have increased 18 percent over 2004, with the Lions Direct, Media Lions and Cyber Lions experiencing the largest growth.
The international celebration of advertising will feature panel discussions, parties, and awards ceremonies, culminating in the film gala, which will be held on Saturday, June 25. Sony PlayStation–which last year scored the Grand Prix in the Film competition for “Mountain,” out of TBWA, London, and directed by Frank Budgen of Gorgeous Enterprises, London–will be honored as the advertiser of the year. Ken Kutaragi, president/group CEO of Sony Computer Entertainment will accept the award during the Film gala.
Last year could have been dubbed year of the client, with several blue chip marketers, including Procter & Gamble, McDonald’s, Ford and Coca-Cola, among others, checking out the scene on the Croisette. The trend shows no signs of abating–McDonald’s is sending a contingent, as is P&G.
“I think it’s a really good idea that clients attend Cannes,” said John Hunt, worldwide creative director for TBWA Worldwide, and the chairman of this year’s Film and Press & Outdoor juries. “They can see for themselves how eighty percent of the work suffers from sameness. If they genuinely do want to leverage their advertising buck, the worst thing to do is demand your agency maintains the status quo. Cannes also usually has interesting guest speakers at various seminars–anything that provokes debate on the new way forward can only be good. Plus, the atmosphere at Cannes also seems to melt the silos between client and agency–that can’t be bad.”
Cannes also gives clients the ability to view several different messaging tools–from interactive to integrated. “To go someplace where you’re exposed to the best work in the world, to see what might break through the clutter, and how the challenge of a target with fractured media consumption is being dealt with is great,” noted Glenn Sheehan, North American creative director, digital, for Wunderman, Irvine, Calif., and a juror for the Cyber Lions competition. “It may sound old, but it is still great ideas that are what move the needles, and creative is in a very interesting transition in this media-agnostic world. If our clients understand that the limits of creativity are being raised at Cannes, then they’ll in turn look to us to strive to those heights here at home. Our job is far more entrepreneurial than it has ever been.”
Robert Greenberg, chairman/CEO/chief creative officer at R/GA, New York, related that to have clients at the Festival enhances the experience. “Client attendance elevates the entire Cannes experience. It’s one continuous interrelated scenario where clients bring their top agency executives, who are then influenced to design better work, thus raising the creative bar,” he related. “I think it’s also beneficial for clients to attend because it helps them understand the value of developing stronger creative.”
MORE ENTRIES, MORE COMPETITION
Because of the increase in entries, 12 new jurors were added in the Press & Outdoor, Media and Cyber Lion competitions. Despite an overall hike, entries in the Film competition were down two percent as compared to last year; the Radio category attracted 1,020 entries, while the Titanium category attracted 133 entries.
This is not the first year the Titanium Lion will be awarded–the honor was created in 2002 by Dan Wieden, who led the film jury that year, to honor work in any category or combination of categories that displays innovation in design, thinking, execution and/or sensibility; the inaugural Titanium was given to the second round of BMW Films out of Fallon, Minneapolis, and produced by bicoastal RSA USA. This year, the Titanium award is being recast to honor campaigns that use at least three distinct communication channels, including both traditional and non-traditional media. There is no limit on the length of a given piece of work, or on the number of outlets used to communicate the work. The Titanium Lion will be awarded in four categories, determined by the media budget: under $1 million; $1 million-10 million; $10 million-$50 million and more than $50 million. A Titanium Grand Prix will be awarded from the mix of winners.
Jeff Goodby of Goodby, Silverstein & Partners, San Francisco, will chair the Titanium Integrated jury, which comprises 10 judges from a wide spectrum of advertising disciplines, including interactive, media, and direct. The U.S. jurors are: Greenberg; Cheryl Berman, chairman/chief creative officer at Leo Burnett USA, Chicago; and Daniel Morel, chairman/CEO of Wunderman, New York. “I think it was smart to create the Titanium category,” said Greenberg, who last year chaired the Cyber Lions jury. “I also remember conversations with Terry Savage, Festival CEO, on the real need to have an award that recognizes marketing concepts that move strategically across well-targeted channels–that first and foremost, this is the fate of the advertising industry. Secondly, very few agencies do it well. It requires both the big idea and for that idea to be properly executed for each specific media.” Greenberg also noted that he hopes the category “encourages agencies and clients to think more broadly about their campaigns.”
Likely to factor into the inaugural Titanium competition are campaigns such as “Rainier Vision,” for Rainier Beer and created by Cole & Weber/Red Cell, Seattle. The package included several elements: a series of 22-minute episodes that aired on a local cable access channel, along with Web and TV elements. The broadcast portions of the project were directed by Wyatt Neumann, who directs via Neverstop, New York. Another integrated package likely to do well is Virgin Atlantic Airways’ “PPV” created by Crispin Porter+Bogusky (CP+B), Miami, which parodies pay-per-view porn films. CP+B may also see some of its Burger King work, including its “Subservient Chicken” and “Chicken Fight” fare, gain recognition. The latter included TV spots, online components, and a pay-per-view special. The package, a follow-up to the wildly popular and much awarded “Subservient Chicken” online effort, promoted Burger King’s chicken sandwich offerings–the TenderCrisp and Spicy Chicken–via the Chicken Sandwich World Championship, a fight between TenderCrisp and Spicy Chicken (actually two guys in chicken suits), which aired on DirecTV. The winner of the match was determined by viewers who went online to vote.
Greenberg reports that in terms of trends, the proliferation of integrated work is one in and of itself. “Integrated work itself is a trend,” he stated. “And while most campaigns always have an interactive component, advertisers are investing more on the online channel. Interactive has two big benefits in its favor; first, it is measurable and accountable, and second, by its very nature consumers can interact more fully with the brand, providing bi-directional communication. Other trends include more broadband-based advertising, rich media, and going beyond purely informational campaigns to deliver more compelling stories and experiences.”
The Film jury of 22 judges, selected from the top creative ranks around the world, and led by chairman Hunt, will sift through 4,995 entries to determine the ’05 Grand Prix, and other Lion winners. The U.S. judge for Film is Ann Hayden, executive VP/creative director worldwide for General Mills at Saatchi & Saatchi, New York.
On the film front, Honda’s “Grrr,” out of Wieden + Kennedy, London, is clearly the odds-on favorite to take the Grand Prix. The ad has already amassed a shelf full of honors, including best of show at the One Show, the Grand Clio at the Clio Awards, two Gold honors–a.k.a. Black Pencils–at the British Design & Art Direction (D&AD) Awards, and the GRANDY at the ANDY Awards, as well as critical praise within the industry. “Grrr” is a fanciful, animated tale that asks the question, can hate be good?, and tells the story of how Kenichi Nagahiro, an engineer at Honda who hated what were then the standard diesel engines. So, he wound up creating a new, more efficient diesel engine, the VTEC. The spot features diesel engines flying through a colorful landscape filled with bunnies and rainbows while a catchy tune, performed by Garrison Keillor, asks: “Can Hate be good?” The answer, in the form of the new engine, is yes. The team of Smith and Foulkes–Allan and Adam–of Nexus Productions, London, directed the spot.
” ‘Grrr’ ” has a lot going for it because it’s underlying sensibility is so timely,” related Hayden, who noted that when she judged this year’s One Show, it was among the highest scores she gave a project. “For something to talk about not hating is just fantastic. Every cultural value and sensibility that spot has is right on.
The spot is also likely to do well in Cannes because of its universal message, said Hayden. “At it’s heart of heart, it’s almost a peace message as well as an ecology message,” she said. “It’s so groovy. The music, and Keillor’s voice just knocks me out.”
While not predicting any winners outright–“I’m not sure it’s appropriate for me to pick a Grand Prix before the event”–Hunt noted that the big winners of other awards shows were likely prospects to win at Cannes, although he is looking forward to seeing new work. “The great thing about Cannes is many people see the Festival as their overall creative deadline,” Hunt theorized, “so often, brand new work pops up that hasn’t been exposed to the world before.”
In terms of trends, Hayden expects that as in years past, comedy will take center stage. “Humor is going to be big this year, because the world is under great stress, and we need to release it,” she said, adding that simple ideas that hold up over time will also make an impact. “There’s no question that humor will be a major force–but when hadn’t humor been a major force at an international adverting competition?”
Hunt didn’t think there would be any one trend that stood out. “I’m not sure if I see any absolute trends in this year’s commercial work,” stated Hunt. “Maybe we’re less depressed than we were two or three years ago. We’re laughing more (especially at ourselves).
“I also feel that Asia as a region is beginning to make itself felt,” he continued. “I think going forward, they’re going to become one of the major advertising pillars.”
Hunt also cautioned that as technologies change, the foundation of good ideas is of paramount importance. “This is more a watch-out than a trend: the more technology allows us to create pyrotechnic special effects , the more we have to remind ourselves it’s an original idea that breaks through and not how you decorate it,” he said. “We all know how difficult it is to earn thirty seconds of the consumer’s time. Often though simplicity breaks through more than senseless razzle dazzle.”
Heading up the Cyber Lions Jury is P.J. Pereira, executive creative director at AKQA, San Francisco. The U.S. judges for the Cyber Lions are: the aforementioned Glenn Sheehan of Wunderman, and Kris Kiger, executive creative director at R/GA. “Having done the jury gig a bunch of times, I really try not to look at the tide of popularity that builds from the other winners,” said Sheehan when asked about his predictions for winners at Cannes. “Obviously, ‘Subservient Chicken’ has shook up the world and set a bar–whether it is a pure creative bar, or the current flavor of the year, time will tell.
“The greatest part of the experience of being involved in a show like Cannes Cyber Lion is that you have an opportunity to see work from around the planet,” continues Sheehan. “Digital has always been a tough medium to share and view work–much of it is transient, it disappears, there are no reprints, no reels to view. Work that may have been great has come and gone in a matter of weeks, and unless you know the creator, or are lucky enough to be on a jury, you miss so much breakthrough work.”
“I don’t think there’s any one particular piece that stands out to me. It’s fairly open,” related Kiger. “I think in the past year or so, I’ve seen a lot of strong work coming from many places around the world.
“I love that the production values of many online initiatives have been brought up to a very high level and that the work has taken on a tremendous viral quality,” continued Kiger. “I think the concept and site created for Mercury’s ‘Meet The Lucky Ones’ was really great. I also liked the type of work that was done by San Francisco-based Mekanism for Sega’s Super Monkey Ball Delux site.”
Sheehan noted that while judging work, he is able to see the new horizons of digital. “To me, the great opportunity is where we blur the lines of the virtual reality of a digital conversation with the real world, and begin to push brand experiences and conversations from online to on-land and back,” he explained. “As we expand further into the realm of integration, there are more opportunities to connect with the consumer–and more opportunities for creativity to flourish.”
Kiger has similar thoughts, noting that the lines between media are becoming less discernable. “I think that a lot more clients are thinking more strategically, and thus spending more on online,” she said. “We’re beginning to see the blending and blurring of the lines between broadcast and online. The storytelling is becoming more in-depth and developed–it’s really an exciting time.”
TV WORK
“Cannes is the melting pot,” stated Tony Granger, chief creative officer at Saatchi & Saatchi, New York, and a juror for the Press & Outdoor competition. “There are a lot of fantastic shows out there — but Cannes is the one show that’s completely international, which is so nice.” Granger predicts “Grrr” will take the Grand Prix, noting “the car category is really good this year. — It’s a really hot category–year after year, it seems to be so brilliant, especially this year.”
Some of Granger’s other car picks include the Volkswagen spot “Singing in the Rain,” out of BMP DDB, London, and directed by Ne-O of Stink, London. The ad features the classic Gene Kelly montage, but with an updated tune. Another car ad on Granger’s win list is the Mercedes-Benz ad “Space To Think,” out of Campbell Doyle Dye, London, and directed by Frank Budgen of Gorgeous Enterprises, London. (Budgen is repped stateside via bicoastal Anonymous Content.) The ad shows an office worker literally becoming squished and distorted by the hustle and bustle of life; he returns to normal behind the wheel of his Mercedes.
Granger also cites Sony PlayStation’s “Golfers”–part of a campaign that also includes the spots “Porn Stars” and “Athletes”–as a likely Lion recipient. The spots, out of TBWA, London, and directed by Daniel Kleinman of now defunct Large–he’s since opened Kleinman Productions, London–feature PlayStation land, which is much like the Serengeti, except instead of tigers going after hyenas, porn stars attack golfers. The spots scored a Gold Pencil at the One Show, among other accolades.
Granger also pointed to another spot that has been doing well of late–NSPCC’s “Ventriloquist,” directed by Kleinman for Saaatchi & Saatchi, London. The spot shows an abused little girl as a ventriloquist’s dummy, being controlled by her abuser.
Also likely to factor into the Lions race are the spots “Love Scene,” Good Cop/Bad Cop,” and “Establishing a Character,” for the Canadian Film Centre’s Worldwide Short Film Festival, out of Taxi, Toronto, and directed by Tim Godsall via untitled, Toronto. (Godsall is repped stateside via Biscuit Filmworks, Los Angeles.) The ads feature a film school instructor who humorously shows his students how to quickly establish several movie clichés so they’ll work in a short film.
A trio of ads for adidas–“Carry,” “Made to Perfection,” and “Unstoppable”–out of TBWA/Chiat/Day, San Francisco, is another strong candidate to make a splash at Cannes. “Carry,” directed by Noam Murro of Biscuit, features Kevin Garnett of the Minnesota Timberwolves literally carrying what seems like an entire city on his shoulders, while “Unstoppable,” helmed by Brian Beletic of bicoastal Smuggler, shows Tracy McGrady of the Houston Rockets fighting off his inner demons as he attempts to dunk a basket. And “Made To Perfection,” directed by Rupert Sanders, then of Omaha Pictures, Santa Monica–he’s since signed with bicoastal/international Morton Jankel Zander (MJZ)–features a God-like figure who creates McGrady, Garnett, and Tim Duncan of the San Antonio Spurs, and then places them on a basketball court to realize their destiny to become basketball greats. A fourth adidas spot, “Hello Tomorrow,” directed by Spike Jonze of MJZ, may also factor into the Cannes mix. The spot features a sleepwalker whose dream is propelled by adidas_1 sneakers.
EVENTS
For the second year in row, the Association of Independent Commercial Producers (AICP) and the Commercial Film Producers of Europe (CFP-e) will hold their World Producers Summit. Slated for June 23 at the Carlton International Hotel, the invitation-only gathering offers executive producers from commercial production companies around the world the chance to enter into a dialogue about the business and factors that impact it globally.
Additionally, the AICP and CFP-e will hold a panel discussion on Friday morning at the Palais des Festivals. The topic is “The Creative Role of the Producer,” and will explore the impact a producer has on a spot. Scheduled participants are: Matt Miller, AICP CEO/president; Francçois Chilot, who heads up the CFP-e; Daniel Bergman, founder/producer at Stink, London; director Ivan Zacharias of Stink (he’s repped stateside via bicoastal Smuggler); Nancy Gabriel, producer at Wanda Production, Saint Denis la Plaine, France; and director Wilfrid Brimo of Wanda.
Other scheduled presentations and panel discussions at the Palais include the 15th annual Saatchi & Saatchi New Directors Showcase, which features notable up-and-coming talent from around the world.
Once again, Sony and Young & Rubicam will presents the “Dreams” short film series, this time under the banner “Flight.” Directors whose shorts will be screened at Cannes are: Samuel Bayer of bicoastal RSA USA (Max); James Gartner of bicoastal GARTNER (Vuelo); Jeffrey Plansker of bicoastal Supply & Demand (The Lion Has Wings); Jesse Dylan of Form, Los Angeles (Inside The Light); Hank Perlman of bicoastal/international Hungry Man (Switching to Glide: The Abe and Frida Kogan Story); Alison Maclean of Park Pictures, New York (Flight); Charles Stone III of Brown Bag Films, New York (The Bet); Baker Smith of Harvest, Santa Monica (Le Roi); Doug Nichol of bicoastal/international Partizan (40 Love); and StyleWar of bicoastal Smuggler (Little Pony).
