www.lionsdailynews.com friday, june 24 , 2011

LIONS 2011 

DAILY NEWS 

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

LIONS 2011 

DAILY NEWS 

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

TODAY’S 

SEMINARS 

09.30 FORD PRESENTS: 

WHEN TO LET GO OF THE BRAND 

A look at the client’s role as creative 

coach in the new people-powered reality 

10.30 PUBLICIS & CONTAGIOUS 

PRESENT: THE FIVE PER CENT CLUB: 

RISK AND REWARD AS CHANGE 

CONTINUES 

Learn about the brands and agencies 

that are diverting energy and resources 

into uncovering new opportunities and 

collaborative cultures 

11.30 UNILEVER PRESENTS: 

NEW BUSINESS MODELS FOR 

A NEW ERA OF MARKETING 

Paul Polman and Keith Weed tackle 

the big issues: Asia’s rapid development, 

the growing power of the consumer 

and the urgent need for more sustainable 

consumption 

12.30 THE CANNES DEBATE 

Sir Martin Sorrell talks to James 

Murdoch and Jeffrey Katzenberg 

13.45 GREY PRESENTS: 

5TH GREY MUSIC LEGENDS SEMINAR 

Patti Smith talks to Tim Mellors 

14.45 PUBLICIS GROUPE 

PRESENTS: MAURICE LEVY TALKS 

TO THE NESTLE CEO 

Nestle’s Paul Bulcke shares his views on 

the future direction of communications 

15.45 BBH PRESENTS: 

GROWTH NEEDS SPACE 

Sir John Hegarty examines the 

change in approach needed to generate 

and accelerate brand growth 

16.45 AKQA FUTURE LIONS AWARDS 

Meet the industry’s next 

generation of creative stars 

ALL SEMINARS ARE IN THE 

DEBUSSY UNLESS INDICATED 

Hegarty tells marketers 

how to raise their game 

IN TODAY’s world, brands must 

grow not by 3%-5%, but by 8%- 

10%, according to Sir John 

Hegarty, founder and worldwide 

creative director of BBH 

— and this is pressurising marketers 

to rethink their tried-andtrusted 

strategies in order to 

generate exponential rather than 

incremental growth. Speaking 

ahead of his seminar this afternoon, 

Growth Needs Space, 

Hegarty said: “Brands have to 

develop new kinds of thinking 

to grow into the space that’s 

going to give them 8%-10% 

growth. You could say this is a 

creative issue. It’s not. It’s a business 

requirement. And if marketing 

doesn’t step up to the 

plate, it will find itself in serious 

trouble, because it has to 

provide the strategies that can 

deliver this growth.” A brand 

that has got it right, Hegarty 

said, is Apple: “Why has Apple 

overtaken Nokia? It’s because 

they have created a different 

DAVID Ogilvy believed that 

advertising was a force for the 

good, said Tham Khai Meng, 

Ogilvy & Mather’s worldwide 

creative director and chairman, 

worldwide creative council, 

explaining why the agency decided 

to launch the Ogilvy & Inspire 

lecture series. “David Ogilvy was 

a brilliant and inspired educator 

and a thought leader,” Khai 

Sir John Hegarty 

kind of product. They have 

grown their devices into a different 

kind of space.” Hegarty 

— a man accustomed to getting 

it right himself — will be presented 

with the inaugural Lion 

Of St Mark award at tomorrow’s 

Awards Ceremony, in recognition 

of his outstanding contribution 

to advertising. It is the 

said at yesterday’s Ogilvy & Mather 

seminar. “But most importantly, 

for him, advertising was 

about much more than selling 

products. He believed that it 

could make the world a better 

place.” Speaker Sir Ken Robinson 

shares that belief, and has 

been a tireless campaigner for 

better education models that 

will unleash the creativity in people, 

rather then crushing it — 

as is the case with the linear, 

industrial model upon which 

most teaching methods are 

based. “The world is changing 

rapidly and profoundly, and creativity 

is both responsible for 

that and the only answer to it,” 

Robinson said. “David Ogilvy 

is a great example of the importance 

of creativity and also why 

creativity marks us out as being 

latest honour in a long list of 

professional, academic and state 

accolades but, he said, no less 

pleasing for that. “And to be the 

initial person winning the award 

is an added honour.” As to the 

piece of work of which Hegarty 

is the most proud, the BBH 

chief passes over the obvious 

suspects — Nick Kamen in Levis; 

Voorsprung Durch Technik for 

Audi — in favour of a campaign 

for the UK crisp brand Phileas 

Fogg. 

“They were made in a place 

called Consett in County 

Durham,” he said. “We actually 

admitted to that and had an 

end line which was: Made In 

Medomsley Road, Consett, Co 

Durham. And when United Biscuits 

bought Phileas Fogg, they 

had to keep the factory open to 

go on using the advertising. So 

our advertising kept that factory 

open and those people 

employed. I’m very proud of 

that.” ^ 

Creativity to the rescue 

Sir Ken Robinson 

INSIDE BOX 

human.” Robinson also 

explained why every individual’s 

life is, in fact, full of creativity: 

“We create our lives in 

a way that no other living thing 

on the planet does. But that same 

creativity has led us to a precipice, 

because the nature of the times 

in which we live is totally without 

precedent. So much has happened 

in the decade since I wrote 

a book called Out Of Our Minds, 

that when I was asked to refresh 

it, I ended up re-writing it — 

because 10 years ago there were 

no social networks, Google was 

a novelty and few people had 

cell phones.” He added: “Digital 

technology is as big a factor 

in transforming the world as 

were the jet engine, the internal-combustion 

engine and the 

printing press.” ^ 

FILM BREACHES 

THE 30-SECOND 

BARRIER 

FOR THE first time in its 

history, film has been unshackled 

from its 30-second 

confines, said Film jury president 

Tony Granger, global 

chief creative officer of Y&R. 

“The good news is that the 

story is no longer tied to a 

30-second time frame,” 

Granger added. “The bad 

news is that it’s just as painful 

to sit through a bad fiveminute 

film as it is to sit 

through a bad 30-second 

film.” Just because a film can 

be longer, it doesn’t mean 

that it should be, he cautioned. 

Granger has asked his 21 jurors 

“to look for a film that 

delivers a truth about a product 

or brand in an unexpected 

way”. Observing that his jury 

members are senior people 

from across the globe, so do 

not require detailed instructions, 

he added: “I’ve taken 

the opportunity to remind 

them to be fair and that their 

names will be attached to 

the outcome.” 

On the whole, Granger said, 

“something that is well produced 

just leaps out at you. 

You know in five seconds if 

it’s going to be good or not.”^ 

Tony Granger 

FESTIVAL NEWS P1-13 FILM SHORTLIST P16 CREATIVE EFFECTIVENESS SHORTLIST P31TITANIUM AND INTEGRATED SHORTLIST P31 FOCUS ON LATIN AMERICA P38 

FOCUS ON MEXICO P47 FOCUS ON SOUTHERN EUROPE P48 PORTUGAL P55 FILM COMMISSIONS P56 FOCUS ON CENTRAL & EASTERN EUROPE P65

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© 2011 CANNES LIONS 

Technology is 

focus of $million 

challenge 

THE LATEST Million Dollar 

Challenge issued by Miles 

Nadal, chairman and CEO of 

MDC Partners, is — unsurprisingly 

— focused on the technologies 

revolutionising creativity. 

He spoke at the end of 

the MDC Partners & Crispin 

Porter + Bogusky seminar Five 

For Five. 

“If you’ve got a great technology 

idea, social-media analytics, 

anything else that will prove 

the effectiveness of creativity 

or enhance the effectiveness 

of marketing communication, 

bring it to us. Any technology-driven 

idea, we want to 

invest in it. We will look at each 

and every opportunity. If we 

can find one we will invest 

$1m, if we can find five we will 

invest $5m. 

“We’ve invested $50m in new 

talent in the last three years 

and we think it’s really worked 

very well for us. It’s not a gim- 

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

mick, it’s the real deal.” As if 

to prove that, last year’s challenge 

— offering $1m for an 

outstanding start-up idea — 

has become a fast-expanding 

reality. The successful proposal 

from Kip Voytek, an interactive 

advertising consultant, 

was for a Digital Works Institute, 

to teach digital creativity 

on a non-profit basis. 

Nadal told the Lions Daily News 

that the initial, New York-based 

school has 40 full-time students 

and about 200 people in executive 

programmes. Another 

two institutes are planned, to 

be based in North America. 

“They will probably be larger 

than the first school,” Nadal 

said. 

Entries to the challenge can 

be submitted at milliondollarchallenge.com, 

closing date 

is the end of September, any 

winner chosen by the end of 

November. ^ 

LOOKING FOR 

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PRODUCTION 

SERVICES IN 

FLORIDA AND 

THE CARIBBEAN? 

www.shootcollective.com 

NEWS 3 

FRIDAY, JUNE 24,2011

4 NEWS 

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

Will people-power force 

brands to be more 

responsible? 

AMR SALAMA, the Egyptian 

filmmaker who almost lost his 

life during the Arab Spring 

uprising earlier this year, had 

a stark message for global marketers 

yesterday: “People are 

now smart. If a corporation is 

selling something that we don’t 

need, it will be busted one day.” 

Salama, who took part in the 

Egyptian protests that overthrew 

the Egyptian dictator 

Hosni Mubarak, was speaking 

during the JWT session The 

Power Of The People Is Greater 

Than The People In Power. 

When asked about the lessons 

to learn from the use of social 

media to end tyrants’ reign, he 

added: “Some corporations are 

using the same brainwashing 

techniques that those governments 

used to sell their bureaucracy 

and propaganda. Social 

media is going to get them 

because we shall tweet about 

it and write about it. That is 

the power of the people.” 

American-born but Kuwaitiraised 

Jehane Noujaim warned 

brand-owners to select their 

good causes with care. She cited 

a Gillette campaign that featured 

an Arab protester who 

had lost an eye standing near 

a Gillette poster. 

“You have to put yourself in the 

position of people who have 

lost friends,” she said. “To use 

the revolution for branding is 

tricky.” 

Winning people’s trust is crucial 

to a brand’s longevity, 

added US documentary filmmaker/actor 

Fisher Stevens. 

“If a company is polluting the 

environment while posting ads 

with ‘green’ messages, I would 

say that is not friendly,” he 

said.^ 

DR NATHANIEL Kohn and Tom Reichert (far 

right) have spent the week in Cannes with 23 

students from the University Of Georgia. The 

students are on a Study Abroad Programme 

as part of their bachelor’s degree in 

journalism and mass communication. During 

the visit, the students have attended 

seminars and workshops, as well as hearing 

from key agency figures 

FRIDAY, JUNE 24,2011 

It pays marketers to try 

every trick in Facebook 

Facebook’s Carolyn Everson 

CREATIVITY and original storytelling 

are crucial when it 

comes to getting the most out 

of marketing on Facebook, the 

world’s biggest social-media 

network, according to Carolyn 

Everson, vice-president of global 

marketing solutions. 

Speaking at Facebook’s Social 

By Design seminar, Everson 

advised brand-owners and 

agencies to exploit the sharing, 

connecting, motivating and 

community-building enabled 

by the Facebook format. And 

she invited the Festival’s delegates 

to take advantage of Facebook’s 

Sponsored Story format 

as the most effective way of 

reaching the relevant communities 

among its 500 millionplus 

registered users. 

“This is the biggest opportunity 

for marketers,” Everson 

said. “You can put consumers 

at the centre of your message, 

regardless of the screen. We 

call that ‘social by design’.” 

This strategy can kick off with 

the brand-owner generating 

a number of “Likes” on its Facebook 

page, followed by selling 

the advertising space on that 

page. 

With the Sponsored Story, the 

same marketer posts anecdotes 

of experiences that its fans want 

to share and, according to Everson, 

this is when Facebook 

comes into its own. “You can 

get two to seven times the 

engagement you get from ads 

from Sponsored Stories, 

because the user cares about 

what their friends are doing.” 

Everson also quoted some figures 

portraying Facebook’s rapidly 

growing reach into people’s 

lives: worldwide and daily, 

15 million people connect with 

Friends, the site records 50 million 

page Likes and more than 

100 million photographs are 

uploaded. ^ 

Technology hits the right note 

TECHNOLOGY is helping to 

drive an explosion of creativity 

across a number of areas, and 

especially in music, delegates 

heard at McCann Worldgroup 

& MRM Worldwide’s seminar, 

Technology And Its Transformation 

Of Creativity. 

Producer, entertainer and technology 

advocate will.i.am said 

that since the tool he uses to 

make music is the computer, his 

relationship with technology is 

a natural one. “The same chip 

that allows me to make music 

also allows me to send it out,” 

he said. 

The musician has a partnership 

with Intel. “Knowing what 

will.i.am thinks really helps engineers 

in devising technology that 

will serve his creativity,” said 

Johan Jervøe, Intel Corporation’s 

vice-president of sales and mar- 

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

keting group, and director of 

creative services and digital marketing. 

Composer, inventor and educator 

Tod Machover said tools 

on computers were so powerful 

a driver to creativity that it 

was almost best to begin working 

with ideas away from the 

computer. “Take your idea for 

a walk around the block,” he said. 

He added: “Music synchronises 

different parts of the brain 

and we have found that we can 

design music that helps us. The 

last thing that Alzheimer’s 

patients recognise often is music. 

We believe ultimately we will 

be able to customise music to 

reshape our lives.” ^

ADOBE 

Celebrating work that sits 

above the rest. 

Adobe is proud to sponsor the first-ever Cannes Creative 

Effectiveness Lions on Saturday, 25 June. The award 

recognizes outstanding work that has had a proven 

impact on a client’s business. We know a successful 

campaign isn’t just about beautiful creative. That’s why 

we offer powerful online analytics to optimize its impact. 

Congratulations to all the finalists. 

©2011 Adobe Systems Incorporated. All rights reserved. Adobe and the Adobe logo are trademarks 

or registered trademarks of Adobe Systems Incorporated in the United States and/or other countries. 

All other trademarks are the property of their respective owners.

6 NEWS 

Kieran Antill explains Gandhi’s language of unity 

Leo Burnett spells out 

how to communicate 

LEO BURNETT’s New York 

office is alpha-betting on the 

use of language as a creative 

way to communicate a brand’s 

message. 

At The Language Of The 21st 

Century session on Wednesday, 

the agency analysed case 

studies that show how brands 

can reach their audience by 

Mark Tutssel 

using language in original ways. 

The mission was summed up 

by Mark Tutssel, Leo Burnett 

Worldwide’s chief creative officer: 

“Today, we’re speaking with 

a new type of alphabet. We use 

[the alphabet] every day when 

we connect with people. But 

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are brands keeping up with the 

conversation?” 

Michael Canning, Leo Burnett 

New York’s creative director, 

explained how it built World 

of EOS, an online portal, for 

Canon’s high-end cameras. But 

instead of using it to drive sales, 

the portal is building a community 

of photographers 

around the brand. 

“It is for photographers to inspire 

each other as a community and 

to focus on the creativity, not 

the technology,” Canning said. 

Leo Burnett New York’s chief 

creative officer, Jay Benjamin, 

then unveiled plans to hold an 

exhibition for New York artists. 

It will centre on the agency’s 

Letterpress Community and the 

theme “New York Writes Itself”, 

both language-focused initiatives. 

Finally, creative director Kieran 

Antill illustrated how Leo 

Burnett is taking its language 

concept to a new level. It is using 

the shape of Mahatma Gandhi’s 

iconic wire-rimmed glasses 

to create new typefaces and 

fonts that will to unite the next 

generation in India’s different 

regions. ^ 

Award winner Schmidt gives 

sunny outlook from Cannes 

ERIC Schmidt, executive chairman 

of Google, was in typically 

ebullient mood in forecasting 

a technology-driven future, 

when he received the Media 

Person Of The Year award on 

Wednesday night. 

In presenting the award, Phil 

Thomas, Festival CEO, 

described Google as the most 

powerful digital company in 

the world, and Schmidt’s 

response might have been 

summed up as: You ain’t seen 

nothing yet. 

“When I started working in 

advertising, I had no idea it was 

so interesting and so important 

to people,” said Schmidt, who 

soon after saw Google Cre- 

ative Lab collect a Cyber Grand 

Prix. And, peering into the 

future for Google and the creative 

industries, he said: “One 

of the points I am excited about 

is that this is just the beginning 

of something extraordinary that 

will get much larger.” 

Speaking at Google’s seminar 

on Internet, Innovation And 

Immigration, he underlined that 

positivism in offering advice 

to creatives: “The best piece of 

advice I could give is try to say 

‘yes’. We tend to find it easy to 

be negative, but ‘yes’ is how your 

life evolves. 

“As an example, we’re here in 

Cannes, one of the most beautiful 

places on Earth, but peo- 

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

ple are so filled with worry 

about their work and their problems. 

The shift to the cities is 

an example of a trend that sometimes 

has negativity attached 

to it, but in fact it is something 

that is very positive. The cities 

are the creative engines of the 

world. 

“And another positive trend is 

the virtual cities that are being 

created on the internet. The 

internet is also creating a new 

demand for transparency in governments 

and business and other 

areas. 

“These are all good trends. The 

power of yes is driving a new 

dawn, and the internet is a very 

big part of that.” ^ 

www.creativescotland.com/filming 

E: locations@creativescotland.com 

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

Meet Maurice Levy 

Today sees two Publicis seminars at the Festival, the second of 

which has CEO Maurice Levy speaking with Nestlé’s CEO Paul 

Bulcke. Levy spoke to Phil Sommerich ahead of the event 

Publicis Groupe 

recently recorded 

revenue growth rates in 

excess of those shown 

by any other major 

network. To what do 

you attribute this? 

We were very pleased to see 

that not only did we weather 

the crisis better than any of 

our competitors (in fact we 

are getting out of the crisis 

with a much stronger position 

than in 2007), but our 

strategy is paying 

handsomely. We are growing 

faster thanks to three criteria: 

our strong, unique leadership 

in digital; our incredible talent 

pool; and great new business 

performance. 

Do you believe we are 

on an upward 

trajectory after the 

Patti Smith, 2007 © Edward Mapplethorpe 

recent economic 

turbulence? 

This crisis is not comparable to 

any other we had in modern 

times. After the financial crisis, 

followed by the economic 

crisis (the most serious since 

1929), we had to face the long 

list of consequences: people 

laid off, losing their jobs, their 

houses, their dignity, recession 

and more recently recovery 

punctuated by the bad news of 

sovereign debts. Yes, we are on 

the upturn but it is fragile one, 

and everyday news can put a 

stop to the growth in the 

western world. Emerging 

markets are doing well but 

they also have their own issues 

to deal with: growing 

inequality, poverty ... As I'm an 

optimist, I’m sure that even if 

we are on a roller-coaster, the 

trend is up. 

Publicis has recently 

made acquisitions 

in the US and China. 

How do you 

see the group’s 

international 

profile developing? 

The motto at Publicis is 

‘Viva la Difference’. I like 

diversity, I think it is a 

formidable, enthusiastic 

representation of the planet 

we live in and as a French 

poet said, "de l'uniformité 

naît l'ennui" (boredom is 

born out of uniformity). 

I like the idea that we are 

diverse, human, different, 

modern, and that we are 

at the avant-garde of the 

advertising agencies group. 

We will continue on those 

strengths, which are in line 

with the evolution of the 

world. 

N 

Have there been 

any trends or issues 

emerging at the 

Festival that have 

attracted your 

interest? 

Digital creativity is a concern. 

NEWS 7 

It is becoming too serious; it 

must be lighter, more 

spontaneous. 

There has been much 

discussion of the impact of 

social networking and 

consumer involvement in 

creativity. What are your 

views? We are at the 

beginning of a new 

phenomenon, which will 

dramatically change society 

and, by the same token, our 

world. Either we lead the 

change 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 intend 

to do the same? 

Marcel Bleustein-Blanchet 

was CEO for 60 years! I 

wondered if I could match 

or surpass him and I came to 

the conclusion that despite 

the progress of medical 

research it would be 

impossible. More seriously, 

I don't want to stay one year 

too many. I prefer people 

saying: “too bad he already 

left” rather than “it was 

about time”. ^ 

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


8 NEWS 

HELLO FUTURE 

THE ANNUAL Saatchi & Saatchi New Directors Showcase once 

again combined stunning on-stage visuals accompanying a 

performance by DJ Jamie Liddel, with a selection of short films 

and music videos that demonstrated just how far the art of 

visual expression has moved in the last 12 months. Hello Future 

featured films from Mikey Please, Tell No One, Andreas Roth, 

Robin Goode, Gary Shore and Daniel Wolfe among others. 


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.

10 NEWS 

Bob Scarpelli 


Scarpelli advises 

Titanium jurors to 

take broad view 

TITANIUM and Integrated jury 

president Bob Scarpelli has 

asked jurors to remember that 

the award should reflect the state 

of the industry and where it is 

going. 

“I’ve instructed them to think 

of this award as a beacon, especially 

to young creatives, of 

where the industry is going.” 

Scarpelli, chairman, DDB Worldwide, 

said the Titanium and Integrated 

awards were founded 

on a special premise. “We wanted 

to step back and recognise 

ideas that point the way forward. 

In that sense, we’re looking for 

bold and brave work that has- 

n’t been done before and that 

carries across as many media 

as applicable.” 

The social media boom has 

opened up a whole new world 

of creativity, Scarpelli said. 

“We’re seeing people inventing 

media in their interaction 

with customers, and using social 

media to create events and even 

movements. 

“We have the opportunity to 

award Titanium, one of the most 

exciting awards ever, at one of 

the most interesting times ever. 

It’s a time when young people 

use technology almost instinctually 

to create.” ^ 

TITANIUM AND INTEGRATED JURORS 

FERNANDA ROMANO, EURO RSCG, 

BRAZIL 

“From what I’ve seen so far, I’d like to 

recommend some rethinking of how the cases 

are presented. There are a lot of adjectives being 

thrown around like ‘first ever’, ‘revolutionary’ 

and ‘took over the world’. To begin with, you only 

have a few minutes to present the case. I’d rather 

see facts than adjectives. I’m also seeing a real 

focus on transparency and realism in the cases 

being presented” 

PABLO DEL CAMPO, DDB WORLDWIDE, 

ARGENTINA 

“I think that it is important to reorganise the 

category so that the big idea is presented first. 

I’m seeing three problems: the idea doesn’t 

appear until the middle of the case study, or it’s 

very good but the presentation is weak, or the 

presentation is good but the idea is weak. There 

appears to be a fair amount of redundancy and I 

guess my feeling so far is that the entries are 

losing their simplicity” 

LINUS KARLSSON, TAXI, USA 

“From what I’ve seen so far, the concept of trying 

to marry technology with real-life experiences is 

really a trend. So clearly the award-winning The 

Fun Theory for Volkswagon Sweden made a 

huge impact last year. I’m also seeing that 

technology is making things a lot more 

democratic, and there are many more entries 

with big ideas coming from smaller markets. But 

I’m also seeing way too much about the 

awesomeness of technology. Some work is so 

much about technology that the idea is 

forgotten” 

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

Cheil says historic Grand 

Prix win is victory for truth 

SOUTH KOREA’s largest advertising 

agency, Cheil Worldwide, 

in winning the country’s first 

Grand Prix ever has sent a message 

to creatives around the 

world to be true to yourself and 

your market. That is the word 

from Bruce Haines, global chief 

strategy officer for Cheil Worldwide. 

Cheil won the Media 

Grand Prix for best use of outdoor 

for its Homeplus Subway 

Virtual Store entry for Tesco, 

as well as four Gold Lions. 

Haines said the Tesco campaign 

represented a new confidence 

in Korean creativity. He added: 

“In looking at the Korean ad 

agency in the recent past, I’d 

say it always felt it had to learn 

from other markets. That 

meant, to a degree, that a lot 

of work that came out Korea 

IMAGINE being asked to test 

drive the car of your dreams, 

any time, from anywhere, in real 

time, via your computer keyboard. 

Not only did B-Reel, the 

US production company, make 

that a reality for a Mitsubishi 

LiveDrive car campaign last 

autumn, but it also plans to use 

similar campaigns to show, at 

the Digital Schmigital For 2012 

session on Saturday, how production 

companies need to 

evolve in the digital age.Using 

GPS and robotics technologies, 

B-Reel enabled consumers to 

try out Mitsubishi’s car using 

their keyboards’ arrows during 

the 10-day campaign by ad 

agency 180 Los Angeles. 

was derivative, and juries may 

have felt that what they were 

seeing was something that wasn’t 

original.” The Tesco campaign, 

he said, “is a brilliant 

combination of Korean thinking, 

Korean technology and 

answering a particularly Korean 

problem. In that, it has an 

honesty that can be related to 

on a global level. 

“What I love about the four 

Gold wins is that there were 

different juries —Outdoor, 

Direct and Media — all coming 

from different points of view 

but all agreed it was an outstanding 

piece of work.” The 

wins “will give enormous confidence 

to Korean creatives that 

they don’t have to look to Western 

markets or Japan for creative 

leadership.” ^ 

Max Ahlborn (left) and Petter Westlund: define greatness 

B-Reel maps out the route 

for creating digital winners 

“We want our panelists to define 

what they believe is a great piece 

of work in the digital space, and 

to explain what it takes to sustain 

that quality repeatedly,” 

said Petter Westlund, creative 

director at B-Reel. “Digital is 

any kind of interactive experience, 

and advertising agencies 

need to know what is possible 

before they can present those 

ideas to their clients,” added 

Max Ahlborn, B-Reel’s executive 

producer. B-Reel is the production 

company behind Cyber 

Grand Prix winner The Wilderness 

Downtown, an interactive 

music video produced in collaboration 

with Google Creative 

Lab and director Chris Milk.^

5:37 PM

12 

NEWS 

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 

& CYBER 

There was a special glow in the Grand Auditorium on 

Wednesday night, with 62 Gold Lions and five Grands Prix to be 

collected, plus a sports award 

The Wieden+Kennedy team has almost lived on the Grand Auditorium stage this week collecting awards for the Old 

Spice campaign, and are there once again to collect a Cyber Grand Prix 

Patricia Paetzold, group creative 

director, scored double Gold (in 

Cyber and Design) and a Cyber 

Silver for Kempertrautmann, 

Hamburg, with the aptly named Wall 

Of Fame ad for Edding pens 


One of several awards for China — 

Aywei Wong, head of production at 

Ogilvy Shanghai, receives Gold from 

Design jury president Luciano Deos 

for a campaign against spitting in 

the streets 

Susan Lilley, of USA Today, receives 

the Design Grand Prix on behalf 

Digital Kitchen Chicago, from 

Luciano Deos for The Cosmopolitan 

Digital Experience 

Yasuharu Sasaki, left, executive creative director at Dentsu, and camerawielding 

planner Shinsaku Ogawa receive Cyber Gold for their Uniqlo work 

Leif Abraham, associate creative director at R/GA New York, receives a Grand 

Prix from Cyber jury president Nick Law for the Pay With A Tweet campaign 

Sebastian Hardieck, chief creative officer at BBDO Germany, collects Gold 

from Design jury president Luciano Deos for Interactive Coal-Gate

A Cyber Grand Prix for Google Creative Lab team Ben Tricklebank, left, Ricardo ‘Mr 

Doob’ Carbello and Aaron Koblin for their music video The Wilderness Downtown 

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 Chemical 

Reaction 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 agency 

ever at Cannes after picking up Press Gold 

NEWS 13 

Margaret Keene (left) and Tanya LeSieur, of Saatchi & Saatchi LA, receive a Gold Lion from Cyber jury president Nick Law 

for 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 


Search 

Communication, Marketing and Media in Brazil 

For F or over 

30 years 

Meio M Meio & Mensagem has been the 

leading 

publication 

in the communication, 

marketing 

and media dia indus 

industry try in Br Brazil. azil. With a 

multiplatform 

operation, oper ration, 

Meio & Mensagem is 

responsible 

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most most 

import important ant events 

in the 

sector, 

as wwell 

ell as th the he lleading 

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eebsit 

eebsit 

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It It also 

also 

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in mobile, 

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and TV. TV V. . 

This year, 

in Cannes, Cannes s, Meio & Mensagem is llaunching 

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Briefing special edition, 

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CAT TITLE ADVERTISER PRODUCT ADVERTISING AGENCY PRODUCTION COMPANY COUNTRY 

SAVOURY FOODS 

A01/020 DOLLS CAMPOFRIO PAVOFRIO SLICED TURKEY MCCANN ERICKSON MADRID SOPA DE TORO MADRID SPAIN 

A01/029 LEGENDARY ANGUS FOUR N TWENTY LEGENDARY ANGUS MEAT PIES CLEMENGER BBDO MELBOURNE PRODIGY MELBOURNE AUSTRALIA 

A01/050 HAPPY BIRTHDAY HEINZ SOUPS AMV.BBDO LONDON RATTLING STICK LONDON UK 

A01/051 CATS WITH THUMBS ARLA CRAVENDALE MILK WIEDEN+KENNEDY LONDON SMITH & JONES FILMS NORTH HOLLYWOOD/MPC LONDON UK 

A01/052 KITCHEN ODYSSEY ARLA LURPAK BUTTER WIEDEN+KENNEDY LONDON STINK/FRAMESTORE/THE MILL LONDON LONDON UK 

A01/081 PARTY KRAFT ATHENOS HUMMUS DROGA5 NEW YORK PARK PIC. NY/CENTRAL ATHENS FILM PROD USA 

A01/083 ‘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 & SNACKS 

A02/001 TABITHA KRAFT WHEAT THINS THE ESCAPE POD CHICAGO SMUGGLER HOLLYWOOD USA 

A02/002 DEREK KRAFT WHEAT THINS THE ESCAPE POD CHICAGO STATION FILM NEW YORK USA 

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A02/076 ICE BOOTH WRIGLEY ECLIPSE INTENSE MINTS DDB SYDNEY FINCH SYDNEY AUSTRALIA 

A02/116 FOCUS GROUP MARS CHOCOLATE NORTH AMERICA SNICKERS PEANUT BUTTER SQUARED BBDO NEW YORK O POSITIVE FILMS NEW YORK USA 

A02/129 CELEBRATION WARBURTONS TOASTIE/FARMHOUSE BREAD RAINEY KELLY CAMPBELL ROALFE/Y&R LONDON GORGEOUS LONDON/PIONEER PRODUCTIONS BUDAPEST UK 

A02/130 LOGGING MARS CHOCOLATE NORTH AMERICA SNICKERS CHOCOLATE BAR BBDO NEW YORK O POSITIVE FILMS NEW YORK USA 

A02/131 PARTY MARS CHOCOLATE NORTH AMERICA SNICKERS CHOCOLATE BAR BBDO NEW YORK O POSITIVE FILMS NEW YORK USA 

A02/133 DOOR WRIGLEY SKITTLES SWEETS TBWA\CHIAT\DAY NEW YORK SMITH AND JONES LONDON USA 

A02/134 BORROW WRIGLEY SKITTLES SWEETS TBWA\CHIAT\DAY NEW YORK SMITH AND JONES LONDON USA 

A02/138 BUS WRIGLEY STARBURST SWEETS TBWA\CHIAT\DAY NEW YORK HUNGRY MAN NEW YORK USA 

A02/139 FIST WRIGLEY SKITTLES SWEETS TBWA\CHIAT\DAY NEW YORK SMITH AND JONES FILMS NORTH HOLLYWOOD USA 

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ALCOHOLIC DRINKS 

A03/002 TOAST MEN NIHON SHURUI HANBAI NICOLAS FEUILLATTE CHAMPAGNE DENTSU TOKYO DENTSU CREATIVE X TOKYO JAPAN 

A03/005 DOG SHOW HEINEKEN JOHN SMITH’S TBWA\LONDON RATTLING STICK LONDON UK 

A03/017 CRY CARLTON UNITED BREWERIES VB BEER DROGA5 SYDNEY REVOLVER SYDNEY AUSTRALIA 

A03/033 ENTRANCE HEINEKEN HEINEKEN WIEDEN+KENNEDY AMSTERDAM SONNY LONDON NETHERLANDS 

A03/034 DATE HEINEKEN HEINEKEN WIEDEN+KENNEDY AMSTERDAM SONNY LONDON NETHERLANDS 

A03/035 SLOW THE PACE HEINEKEN UK KRONENBOURG 1664 BBH LONDON PULSE FILMS LONDON UK 

A03/047 SLO MO FOSTERS GROUP CARLTON DRAUGHT CLEMENGER BBDO MELBOURNE PLAZA FILMS SYDNEY AUSTRALIA 

A03/049 TORTOISE FOSTERS GROUP CARLTON NATURAL CLEMENGER BBDO MELBOURNE REVOLVER SYDNEY AUSTRALIA 

A03/054 PRESENTATION ANHEUSER-BUSCH INBEV NORTE BEER DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES PRIMO BUENOS AIRES ARGENTINA 

A03/055 DVD ANHEUSER-BUSCH INBEV NORTE BEER DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES PRIMO BUENOS AIRES ARGENTINA 

A03/064 BEER - THE UNTOLD STORY DB BREWERIES DB EXPORT BEER COLENSO BBDO AUCKLAND REVOLVER SYDNEY NEW ZEALAND 

A03/070 STRONGMAN MAGNERS MAGNERS GOLDEN DRAUGHT CIDER THE RED BRICK ROAD LONDON STINK LONDON/CHEROKEE FILMS AUCKLAND UK 

A03/071 BEES MAGNERS MAGNERS ORIGINAL CIDER THE RED BRICK ROAD LONDON STINK LONDON/CHEROKEE FILMS AUCKLAND UK 

NON-ALCOHOLIC DRINKS 

A04/018 CUBEHEAD BRITVIC DRENCH DRINK CHI & PARTNERS LONDON SMITH AND JONES LONDON UK 

A04/035 SIEGE COCA-COLA COCA-COLA WIEDEN+KENNEDY PORTLAND NEXUS PRODUCTIONS LONDON UK 

A04/052 BRAIDS PEPSICO H2OH! DRINK BBDO ARGENTINA BUENOS AIRES ARGENTINACINE BUENOS AIRES ARGENTINA 

A04/060 BABY INSIDE EVIAN EVIAN BETC EURO RSCG PARIS WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX FRANCE 

A04/084 GO GO GO GLOBALBEV BEBIDAS E ALIMENTOS FLYING HORSE ENERGY DRINK OGILVY BRASIL SÃO PAULO PARANOIDBR SÃO PAULO BRAZIL 

HOUSEHOLD: CLEANING PRODUCTS 

A05/015 SUSAN AND ERICA FEBREZE DEODORISING SPRAY GREY NEW YORK STATION FILM NEW YORK USA 

A05/016 RESTAURANT FEBREZE DEODORISING SPRAY GREY NEW YORK STATION FILM NEW YORK USA 

A05/018 HOTEL FEBREZE DEODORISING SPRAY GREY NEW YORK STATION FILM NEW YORK USA 

A05/026 SAUSAGEFLAN PROCTER & GAMBLE AYUDIN WASHING UP LIQUID GREY ARGENTINA BUENOS AIRES REBOLUCION BUENOS AIRES ARGENTINA 

HOUSEHOLD: OTHER 

A06/017 3 IN 1 SELLEYS ADHESIVE, SEALANT & GAP FILLER BELGIOVANE WILLIAMS MACKAY ULTIMO GOODOIL FILMS SYDNEY AUSTRALIA 

HOME APPLIANCES & FURNISHINGS 

A07/016 EXORCIST DIRT DEVIL CENTRINO CLEANCONTROL M2881 ANDREAS ROTH LUDWIGSBURG FILMAKADEMIE BADEN-WÜRTTEMBERG LUDWIGSBURG GERMANY 

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A07/025 NOSE JOB BGH AIR CONDITIONERS DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES PELUCA FILMS BUENOS AIRES ARGENTINA 

A07/026 GIGANTIC NOSE BGH AIR CONDITIONERS DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES PELUCA FILMS BUENOS AIRES ARGENTINA 


FILM 

SHORTLIST


A07/032 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 & BEAUTY 

A08/003 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 

TOILETRIES 

A09/017 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 

PHARMACY 

A10/005 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 & ACCESSORIES 

A11/002 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 

MISCELLANEOUS 

A12/005 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 

mmmm, delicious juice! 

FILM SHORTLIST 

Martin Jacobson recommends a can of juice today to get maximum value 

on your next film shoot in South Africa. 

juicefilm.tv 

19 

production service south africa 




CARS 

A13/016 MADE OF MEANER STUFF SKODA FABIA VRS FALLON LONDON SOMESUCH & CO LONDON UK 

A13/026 GOODNIGHT AUDI OF AMERICA AUDI A8 VENABLES BELL & PARTNERS SAN FRANCISCO EPOCH FILMS BEVERLY HILLS/RATTLING STICK NY/FRAMESTORE LONDON USA 

A13/035 FLOW MINI/BMW MINI COUNTRYMAN BSUR AGENCY AMSTERDAM SMUGGLER HOLLYWOOD NETHERLANDS 

A13/036 SUNDAY DRIVER DAIMLER MERCEDES-BENZ JUNG VON MATT STUTTGART @RADICAL.MEDIA BERLIN GERMANY 

A13/054 COUNTRY SONATA HYBRID HYUNDAI AUTO CANADA SONATA HYBRID INNOCEAN WORLDWIDE CANADA TORONTO RADKE FILM GROUP TORONTO CANADA 

A13/060 MOUNTAINBIKE HARALD A. MØLLER AUDI Q5 BATES UNITED OSLO FREDRIK FICTION OSLO/VIVI FILM BARCELONA NORWAY 

A13/070 FORCE VOLKSWAGEN VW PASSAT DEUTSCH INC. LOS ANGELES PARK PICTURES SANTA MONICA USA 

A13/101 WORD VOLKSWAGEN VOLKSWAGEN DDB SYDNEY REVOLVER SYDNEY AUSTRALIA 

A13/103 MILK RUN VOLKSWAGEN VW DDB GROUP NEW ZEALAND AUCKLAND ROBBERS DOG FILM AUCKLAND NEW ZEALAND 

A13/116 BORN OF FIRE CHRYSLER CHRYSLER 200 WIEDEN+KENNEDY PORTLAND SERIAL PICTURES CULVER CITY USA 

A13/117 CHALLENGER FREEDOM DODGE DODGE CHALLENGER WIEDEN+KENNEDY PORTLAND BISCUIT FILMWORKS LOS ANGELES USA 

A13/126 DIRTY COPS LAND ROVER LR4 Y&R NEW YORK O POSITIVE FILMS NEW YORK USA 

A13/153 OLD LADY PON’S AUTOMOBIELHANDEL VW GOLF DDB AMSTERDAM CZAR.NL AMSTERDAM NETHERLANDS 

A13/161 TRANSLATOR VOLKSWAGEN TIGUAN ALMAPBBDO SÃO PAULO FAT BASTARDS SÃO PAULO/MOVIEART SÃO PAOLO BRAZIL 

A13/162 CHANGE ROOMS VOLKSWAGEN VW PASSAT DDB SYDNEY THE SWEET SHOP SYDNEY AUSTRALIA 

A13/207 ELECTRIC LIFE RENAULT ZE PUBLICIS CONSEIL PARIS NOSE SAINT-CLOUD FRANCE 

A13/208 PATHOLOGICAL LIAR LAND ROVER LAND ROVER LR4 Y&R NEW YORK O POSITIVE FILMS NEW YORK USA 

OTHER VEHICLES, AUTO PRODUCTS & SERVICES 

A14/028 I LOVE YOU VOLKSWAGEN ORIGINAL PARTS ALMAPBBDO SÃO PAULO VETOR ZERO/LOBO SÃO PAULO BRAZIL 

A14/029 BOSS VOLKSWAGEN ORIGINAL PARTS ALMAPBBDO SÃO PAULO VETOR ZERO/LOBO SÃO PAULO BRAZIL 

A14/030 SON, YOU’RE ADORABLE VOLKSWAGEN ORIGINAL PARTS ALMAPBBDO SÃO PAULO VETOR ZERO/LOBO SÃO PAULO BRAZIL 

A14/031 IT´S NOT YOU VOLKSWAGEN ORIGINAL PARTS ALMAPBBDO SÃO PAULO VETOR ZERO/LOBO SÃO PAULO BRAZIL 

A14/034 PARTY CAR ONE USED CARS LEO BURNETT ARGENTINA BUENOS AIRES URSULA BUENOS AIRES ARGENTINA 

A14/035 LOVE STORY CAR ONE USED CARS LEO BURNETT ARGENTINA BUENOS AIRES URSULA BUENOS AIRES ARGENTINA 

HOME ELECTRONICS & AUDIO-VISUAL 

A15/032 NO EXPERT PANASONIC G2-DIGITAL CAMERA THE CAMPAIGN PALACE SYDNEY PRODIGY SYDNEY AUSTRALIA 

A15/035 EINSTEIN SONY CYBER-SHOT DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES GARLIC FILMS MADRID ARGENTINA 

A15/036 MARILYN SONY CYBER-SHOT DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES GARLIC FILMS MADRID ARGENTINA 

A15/038 REALLY MICROSOFT WINDOWS PHONE 7 CRISPIN PORTER + BOGUSKY BOULDER IMPERIAL WOODPECKER SANTA MONICA USA 

A15/040 KEVIN BACON FAN LOGITECH LOGITECH REVUE WITH GOOGLE TV GOODBY SILVERSTEIN & PARTNERS SAN FRANCISCO SMUGGLER HOLLYWOOD USA 

A15/061 THEFT TOSHIBA ULTRA LED TV TALENT SÃO PAULO PRODIGO FILMS SÃO PAULO BRAZIL 

21 


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RETAIL STORES 

A16/011 THE-HI-SWEETIE-UNCLE-BOB-IS-GOING-TO… IKEA HOME FURNISHING HJALTELIN STAHL & CO. COPENHAGEN PEGASUS PRODUCTION COPENHAGEN DENMARK 

A16/039 ANTI-RIOT SQUAD DE BIJENKORF DEPARTMENT STORE SELMORE CREATIVE AGENCY AMSTERDAM CZAR.NL AMSTERDAM NETHERLANDS 

A16/066 WHITE HORSE INTERFLORA GIFTS AND FLOWERS BRANDHOUSE COPENHAGEN MOLAND FILM COMPANY COPENHAGEN DENMARK 

A16/068 TELEMARKETER NETTO SUPERMARKET CHAIN BRANDHOUSE COPENHAGEN TRESHOW FILMPRODUCTION NAERUM DENMARK 

A16/077 EYE DROPS RICHMOND OPTOMETRY OPTOMETRY RED URBAN TORONTO UNTITLED FILMS TORONTO CANADA 

A16/078 BUCK RICHMOND OPTOMETRY OPTOMETRY RED URBAN TORONTO UNTITLED FILMS TORONTO CANADA 

A16/079 HOSE RICHMOND OPTOMETRY OPTOMETRY RED URBAN TORONTO UNTITLED FILMS TORONTO CANADA 

A16/087 MUMS DEBENHAMS DEPARTMENT STORE JWT LONDON LONDON BARE FILMS LONDON UK 

A16/107 YAY GAMESTOP RETAIL STORE THE RICHARDS GROUP DALLAS HUNGRY MAN NEW YORK USA 

A16/117 BALLROOM RUAM CHAROEN PATTANA CO. TOP CHAROEN OPTICAL STORE JWT BANGKOK PHENOMENA BANGKOK THAILAND 

A16/119 CHAIN MAIL EXCLUSIVE BOOKS E MAIL FOR DUMMIES OGILVY JOHANNESBURG JUMP CAPE TOWN SOUTH AFRICA 

RESTAURANTS & FAST FOOD OUTLETS 

A17/028 BIRDS LEGAL SEA FOODS RESTAURANT DEVITO/VERDI NEW YORK USA 

A17/033 PACKAGE MCDONALD’S MCDONALD’S DDB TRIBAL GR. BERLIN/HEYE & PART. UNTERHACHING HAGER MOSS /ARRI FILM & TV SERV. MUNICH GERMANY 

A17/050 RETURN OF THE CRAVING CHICKEN LICKEN HOT WINGS NET#WORK BBDO JOHANNESBURG VELOCITY FILMS CAPE TOWN SOUTH AFRICA 

TRAVEL, TRANSPORT & TOURISM 

A18/026 THE 250KM WAVE KYUSHU RAILWAY COMPANY BULLET TRAIN DENTSU TOKYO ENGINE FILM TOKYO/T & E FUKUOKA JAPAN 

A18/027 WHOEVER YOU ARE NETTBUSS BUS TRAVEL LOS & CO OSLO SOCIAL CLUB STOCKHOLM NORWAY 

A18/028 ROCKSTAR SERVICE VIRGIN HOLIDAYS VIRGIN TRAVEL DARE LONDON PARTIZAN LONDON UK 

A18/043 TOUGH QUESTIONS VEGAS CONVENT. & VISITORS AUTHORITY LAS VEGAS TOURISM R&R PARTNERS LAS VEGAS FUELD FILMS AUSTIN USA 

A18/046 CHANGES SHANGRI-LA TRAVEL AGENCY AGÊNCIA3 RIO DE JANEIRO KOMBAT FILMS RIO DE JANEIRO BRAZIL 

A18/055 SWITZERLAND - MORE THAN MOUNTAINS SWITZERLAND TOURISM TOURISM & TRAVEL SPILLMANN/FELSER/LEO BURNETT ZÜRICH CONDOR FILMS ZÜRICH SWITZERLAND 

A18/065 FRANK KAYAK.COM TRAVEL SITE BARTON F. GRAF 9000 NEW YORK STATION FILM NEW YORK USA 

ENTERTAINMENT & LEISURE 

A19/063 APPLICATION PLANET FITNESS GYM MULLEN BOSTON HUNGRY MAN LOS ANGELES USA 

A19/065 LIFT THINGS UP PLANET FITNESS GYM MULLEN BOSTON HUNGRY MAN LOS ANGELES USA 

A19/104 VICTOR SONY PLAYSTATION DEL CAMPO NAZCA SAATCHI BUENOS AIRES GARLIC FILMS MADRID ARGENTINA 

A19/106 PROPOSAL TRISS LOTTERIES FORSMAN & BODENFORS STOCKHOLM ACNE PRODUCTION STOCKHOLM SWEDEN 

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PUBLICATIONS & MEDIA 

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A20/035 SHAKESPEARE AMOUR ADULT ENTERTAINMENT DARE VANCOUVER IMPORT. ARTISTS FILM COMP. TORONTO/GREEN DOT FILMS S. MONICA CANADA 

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BUSINESS EQUIPMENT & SERVICES 

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COMMERCIAL PUBLIC SERVICES 

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A23/228 FUNNY EMAIL AT&T AT&T BBDO NEW YORK SMUGGLER NEW YORK USA 

A23/237 GOOGLE INSTANT WITH BOB DYLAN GOOGLE GOOGLE INSTANT SEARCH JOHANNES LEONARDO NEW YORK LOST PLANET NEW YORK USA 

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A23/257 HOT HOUSE DIRECTV SATELLITE TV GREY NEW YORK BISCUIT FILMWORKS LOS ANGELES/MPC LOS ANGELES USA 

A23/262 GLADIATOR TTNET IPTV TIVIBU DUBBED FILMS TBWA\ISTANBUL IMAJ ISTANBUL TURKEY 

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A24/123 HUSSARS ORANGE CINEDAY PUBLICIS CONSEIL PARIS PARTIZAN PARIS FRANCE 

PUBLIC HEALTH & SAFETY 

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A26/060 CLEVER DICK AIDES AIDS AWARENESS TBWA\PARIS CARNIBIRD PARIS/\ELSE BOULOGNE-BILLANCOURT FRANCE 

PUBLIC AWARENESS MESSAGES 

A27/001 FATHER & SON MINIS. OF COM. DEVELOP./NAT. FAMILY COUNCIL FILIAL PIETY LEO BURNETT GROUP SINGAPORE MOVIOLA SINGAPORE SINGAPORE 

A27/021 FAMILY UNICEF UNICEF LOWE INDONESIA SQUARE BOX CINETECH JAKARTA/CINERED JAKARTA INDONESIA 

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A27/091 MARKED FOR LIFE SIRE AWARENESS FOR CHILDREN IN DIVORCE 180 AMSTERDAM PARTIZAN LONDON NETHERLANDS 

FUNDRAISING & APPEALS 

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A28/062 JUMBLED THE AVRIL ELIZABETH HOME THE AVRIL ELIZABETH HOME JWT JOHANNESBURG BOUFFANT JOHANNESBURG SOUTH AFRICA 




INTERNET FILM 

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B01/111 LULLABY DIESEL CLOTHING COLLECTION SANTO BUENOS AIRES STINK DIGITAL LONDON/LANDIA BUENOS AIRES ARGENTINA 

B01/173 BLADE MENTOS MENTOS SWEETS THE MARTIN AGENCY RICHMOND @RADICAL.MEDIA NEW YORK USA 

B01/174 COBRA MENTOS MENTOS SWEETS THE MARTIN AGENCY RICHMOND @RADICAL.MEDIA NEW YORK USA 

B01/247 PINK PONIES JOHN ST. AGENCY PROMOTION JOHN ST TORONTO SONS AND DAUGHTERS TORONTO CANADA 

B01/260 CAGE COP WRIGLEY SKITTLES BBDO CANADA TORONTO OPC TORONTO/PROXIMITY CANADA CANADA 

B01/261 WAR FINGERS WRIGLEY SKITTLES BBDO CANADA TORONTO OPC TORONTO/PROXIMITY CANADA CANADA 

B01/262 HITCHHIKER WRIGLEY SKITTLES BBDO CANADA TORONTO OPC TORONTO/PROXIMITY CANADA CANADA 

B01/263 CAT WRIGLEY SKITTLES BBDO CANADA TORONTO OPC TORONTO/PROXIMITY CANADA CANADA 

B01/264 SKITTLES GIRL WRIGLEY SKITTLES BBDO CANADA TORONTO OPC TORONTO/PROXIMITY CANADA CANADA 

B01/268 CHROME SPEED TESTS GOOGLE CHROME BROWSER BBH NY/GOOGLE CREATIVE LAB NY FIRST AVE MACHINE NEW YORK USA 

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B01/319 BECAUSE I LIKE YOU POSTE ITALIANE MAILING SERVICE CRIC MILAN/H FILMS MILAN ITALY 

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B01/414 JS BEALS PROCTER & GAMBLE OLD SPICE BODY WASH WIEDEN+KENNEDY PORTLAND DON’T ACT BIG PORTLAND USA 

B01/415 T PROCTER & GAMBLE OLD SPICE BODY WASH WIEDEN+KENNEDY PORTLAND DON’T ACT BIG PORTLAND USA 

B01/416 APRIL JOHNSON ALLEN PROCTER & GAMBLE OLD SPICE BODY WASH WIEDEN+KENNEDY PORTLAND DON’T ACT BIG PORTLAND USA 

B01/417 FRUITVALE THE HUFFINGTON POST NEWS WEBSITE GOODBY SILVERSTEIN & PART. S. FRANCISCO USA 

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B01/439 WAKE UP THE TOWN - ARCTIC EXPERIMENT PHILIPS WAKE-UP LIGHT TRIBAL DDB AMSTERDAM STAMP FILMS LONDON NETHERLANDS 

B01/440 WAKE UP THE TOWN - TOM’S STORY PHILIPS WAKE-UP LIGHT TRIBAL DDB AMSTERDAM STAMP FILMS LONDON NETHERLANDS 

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B01/443 DEMO SLAM: REALTIME KARAOKE GOOGLE GOOGLE INNOVATIONS JOHANNES LEONARDO NEW YORK RABBIT CONTENT NEW YORK USA 

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B01/445 DEMO SLAM: ROUTE 66 GOOGLE GOOGLE INNOVATIONS JOHANNES LEONARDO NEW YORK RABBIT CONTENT NEW YORK USA 

B01/447 DEMO SLAM: RUSHMORE GOOGLE GOOGLE INNOVATIONS JOHANNES LEONARDO NEW YORK RABBIT CONTENT NEW YORK USA 

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B01/542 PROFILE THE GOVERNOR BORDER ACTION NETWORK PUBLIC SERVICE ANNOUNCEMENT Y&R NEW YORK USA 

B01/565 EASTBOUND AND MOM HBO EASTBOUND AND DOWN BBDO NEW YORK BISCUIT FILMWORKS LOS ANGELES USA 

B01/587 PELE VIVO VIVO Y&R SÃO PAULO O2 FILMES SAO PAULO BRAZIL 

OTHER SCREENS 

B02/018 REPLAY SEASON 3 GATORADE SPORTS DRINK TBWA\CHIAT\DAY LA LOS ANGELES FOX SPORTS NET LOS ANGELES USA 

B02/032 THE ROCKET PROJECT BRANDED CONTENT SONY VAIO & INTEL SONY VAIO & INTEL TECHNOLOGY 180LA SANTA MONICA @RADICAL.MEDIA NEW YORK USA 

INTERACTIVE FILM 

B04/003 WHERE IS YOUR LINE? THE HAVENS SEXUAL ASSAULT AWARENESS YOUTH CLUB LONDON RATTLING STICK LONDON UK 

B04/007 DARK RIDE LEXUS LEXUS CT 200H SKINNY NEW YORK STINK DIGITAL LONDON/SPEEDSHAPE VENICE/SKUNK HOLLYWOOD USA 

B04/011 WARDEN SIXTEEN VANCOUVER INTERNAT. FILM FESTIVAL FILM FESTIVAL TREES & ROCKS VANCOUVER SUNEEVA TORONTO CANADA 

B04/013 ENTRANCE HEINEKEN HEINEKEN WIEDEN+KENNEDY AMSTERDAM SONNY LONDON/WIDESCOPE BARCELONA/HELLOHIKIMORI PARIS NETHERLANDS 

B04/014 TOUCHING STORIES BOARDS MAGAZINE TOOL OF NORTH AMERICA SANTA MONICA/DOMANI STUDIOS BROOKLYN USA 

B04/015 A HUNTER SHOOTS A BEAR BIC TIPP-EX POCKET MOUSE BUZZMAN PARIS GROUEK PARIS FRANCE 

B04/017 ENCOURAGEMENT SPECIAL OLYMPICS GREAT BRITAIN SPECIAL OLYMPICS JWT LONDON LONDON GORGEOUS LONDON UK 

B04/019 LOST IN VAL SINESTRA SWISSCOM SWISSCOM TV CONTEXTA BERN STORIES ZURICH SWITZERLAND 

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CREATIVE 

EFFECTIVENESS 

SHORTLIST 

CAT TITLE ADVERTISER PRODUCT ENTERED BY COUNTRY 

A01/007 MAC VS. PC APPLE MACINTOSH TBWA\MEDIA ARTS LAB LOS ANGELES USA 

A01/026 THERE’S A MCDONALD’S FOR EVERYONE MCDONALD’S MCDONALD’S LEO BURNETT LONDON UNITED KINGDOM 

A01/029 CLEANS YOUR BALLS AXE AXE SHOWER GEL BBH NEW YORK USA 

A01/030 THE MAN YOUR MAN COULD SMELL LIKE PROCTER & GAMBLE OLD SPICE BODY WASH WIEDEN+KENNEDY PORTLAND USA 

A01/046 THE PACIFIC TVNZ TELEVISION PROGRAMME COLENSO BBDO AUCKLAND NEW ZEALAND 

A01/053 W.A.L.S. - WOMEN AGAINST LAZY STUBBLE PROCTER & GAMBLE GILLETTE MACH3 BBDO INDIA MUMBAI INDIA 

A01/061 SANDWICH PEPSICO WALKERS ABBOTT MEAD VICKERS BBDO LONDON UNITED KINGDOM 

A01/063 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 

TITANIUM 

AND INTEGRATED 

SHORTLIST 

CAT TITLE ADVERTISER PRODUCT ENTERED BY COUNTRY 

CA01/002 HAPPY INSIDE IKEA IKEA CATALOGUE MOTHER LONDON UNITED KINGDOM 

A01/057 THE MAN YOUR MAN COULD SMELL LIKE OLD SPICE OLD SPICE BODY WASH WIEDEN+KENNEDY PORTLAND USA 

A01/094 WRITE THE FUTURE NIKE NIKE FOOTBALL NIKE COMMS TEAM AMSTERDAM THE NETHERLANDS 

A01/101 THE MEGANE EXPERIMENT RENAULT MEGANE PUBLICIS LONDON UNITED KINGDOM 

A01/111 THE RIPPLE EFFECT TRANSPORT ACCIDENT COMMISSION SPEED GREY MELBOURNE AUSTRALIA 

A01/124 CONCERT MILK CONCERTHALL DORTMUND CONCERT HALL JUNG VON MATT HAMBURG GERMANY 

A01/132 TOUCH THE RAINBOW WRIGLEY SKITTLES BBDO CANADA TORONTO CANADA 

A01/134 CHROME FAST GOOGLE CHROME BROWSER BBH NEW YORK USA 

A01/138 THE WILDERNESS DOWNTOWN . ARCADE FIRE GOOGLE CREATIVE LAB NEW YORK USA 

A01/141 REPLAY SEASON 2 & 3 GATORADE SPORTS DRINK TBWA\CHIAT\DAY LA LOS ANGELES USA 

A01/153 AMERICAN ROM KANDIA DULCE ROM BV MCCANN ERICKSON BUCHAREST ROMANIA 

A01/172 SAVE THE BEACH HOTEL GMODELO EUROPA SAU CORONA BEER JWT MADRID SPAIN 

A01/176 SHOW US YOUR PIZZA DOMINO’S PIZZA DELIVERY CRISPIN PORTER + BOGUSKY BOULDER USA 

A01/203 WATSON IBM IBM OGILVY & MATHER NEW YORK USA 

A01/239 WELCOME TO OUR REALITY SWEDISH ARMED FORCES RECRUITMENT DDB STOCKHOLM SWEDEN 

A01/241 THE SPEED CAMERA LOTTERY VOLKSWAGEN BLUEMOTION TECHNOLOGIES DDB STOCKHOLM SWEDEN 

A01/242 FASHION AWARD IKEA DEPARTMENT STORE FORSMAN & BODENFORS GOTHENBURG SWEDEN 

A01/249 SECRETS BEHIND PAINTINGS PZU / NATIONAL MUSEUM IN KRAKOW MUSEUM LEO BURNETT WARSAW POLAND 

A01/250 VAC FROM THE SEA ELECTROLUX GREEN RANGE VACUUM CLEANERS PRIME PR STOCKHOLM SWEDEN 

A01/251 THE VOICELESS CAMPAIGN THE ZIMBABWEAN NEWSPAPER TBWA\HUNT\LASCARIS JOHANNESBURG SOUTH AFRICA 

A01/255 CATS WITH THUMBS ARLA CRAVENDALE MILK WIEDEN+KENNEDY LONDON UNITED KINGDOM 

A01/265 KALEIDOSCOPIC FASHION SPECTACULAR TARGET TARGET MOTHER NEW YORK USA 

A01/277 THE LAST TEXT AT&T AT&T BBDO NEW YORK USA 

A01/289 READY TO WORK LEVI STRAUSS & CO. LEVI’S WORKWEAR WIEDEN+KENNEDY PORTLAND USA 

A01/290 YOUR MOM HATES DEAD SPACE 2 ELECTRONIC ARTS DEAD SPACE 2 DRAFTFCB SAN FRANCISCO USA 

A01/314 THE CODE ARMED FORCES OF COLOMBIA ARMED FORCES SUPPORT DDB COLOMBIA BOGOTÁ COLOMBIA 

A01/382 THE FRIENDSHIP MACHINE COCA-COLA COCA-COLA OGILVY ARGENTINA BUENOS AIRES ARGENTINA 

A01/385 DECODE JAY-Z WITH BING BING / JAY-Z DECODE JAY-Z WITH BING DROGA5 NEW YORK USA 

A01/432 PAY WITH A TWEET INNOVATIVE THUNDER CURRENCY SYSTEM R/GA NEW YORK USA 

A01/433 THE FILM ROOM NIKE APPAREL R/GA NEW YORK USA 

A01/437 WATER MARK DIAGEO BUNDABERG RUM LEO BURNETT SYDNEY AUSTRALIA 

A01/475 REAR VIEW GIRLS LEVI STRAUSS & CO. CURVE ID JEANS COLENSO BBDO AUCKLAND NEW ZEALAND 

31 


FILM CRAFT 

SHORTLIST 

CAT TITLE ADVERTISER PRODUCT PRODUCTION COMPANY ADVERTISING AGENCY COUNTRY 

PRODUCTION DESIGN 

A01/013 WRITE THE FUTURE NIKE NIKE FOOTBALL INDEPENDENT LONDON WIEDEN+KENNEDY AMSTERDAM NETHERLANDS 

A01/014 BEDTIME STORIES AT&T AT&T BISCUIT FILMWORKS LOS ANGELES BBDO NEW YORK USA 

A01/015 ENTERTAINMENT AT&T AT&T GORGEOUS LONDON BBDO NEW YORK USA 

A01/021 CHROME SPEED TESTS GOOGLE CHROME BROWSER FIRST AVE MACHINE NEW YORK BBH NEW YORK / GOOGLE CREATIVE LAB NEW YORK USA 

A01/024 IN WITH THE NEW VODAFONE MOBILE NETWORK BRAND FLYING FISH AUCKLAND COLENSO BBDO AUCKLAND NEW ZEALAND 

A01/040 DULUX WALLS AKZO NOBEL DULUX STINK LONDON EURO RSCG LONDON UNITED KINGDOM 

A01/060 FOUNDLING PHILIPS FLAT SCREEN T.VS RSA FILMS LONDON DDB UK LONDON UNITED KINGDOM 

A01/064 AFTER HOURS ATHLETE PUMA PUMA SOCIAL SMUGGLER HOLLYWOOD DROGA5 NEW YORK USA 

A01/081 WORLDS SMALLEST CHARACTER ANIMATION NOKIA NOKIA N8 AARDMAN ANIMATIONS BRISTOL WIEDEN+KENNEDY LONDON UNITED KINGDOM 

A01/092 QUESTIONS PROCTER & GAMBLE OLD SPICE MJZ LOS ANGELES WIEDEN+KENNEDY PORTLAND USA 

DIRECTION 

A02/001 CATS IKEA IKEA CATALOGUE STINK LONDON MOTHER LONDON UNITED KINGDOM 

A02/005 RIDE COCA-COLA BURN ENERGY DRINK EXIT FILMS MELBOURNE PUBLICIS MOJO SYDNEY AUSTRALIA 

A02/016 MADE OF MEANER STUFF SKODA FABIA VRS SOMESUCH & CO LONDON/UNIT SOFA PRAGUE FALLON LONDON UNITED KINGDOM 

A02/017 CONTROL NIKE NIKE CTR 360 OUTSIDER LONDON WIEDEN+KENNEDY LONDON UNITED KINGDOM 

A02/044 MODELS SONY ERICSSON MOBILE PHONE SMUGGLER LONDON DARE LONDON UNITED KINGDOM 

A02/065 VOICE OVER CADBURY LUNCHBAR VELOCITY FILMS JOHANNESBURG OGILVY JOHANNESBURG SOUTH AFRICA 

A02/089 BORN OF FIRE CHRYSLER CHRYSLER 200 SERIAL PICTURES NEW YORK/JOINT EDITORIAL PORTLAND WIEDEN+KENNEDY PORTLAND USA 

A02/100 TO WORK LEVI’S LEVI’S CLOTHING SKUNK HOLLYWOOD WIEDEN+KENNEDY PORTLAND USA 

A02/164 MISS CHIEF PREMIER FOOD HOVIS GORGEOUS LONDON MCBD LONDON UNITED KINGDOM 

A02/177 FORCE VOLKSWAGEN VW PASSAT PARK PICTURES NEW YORK DEUTSCH INC. LOS ANGELES USA 

A02/179 KEVIN BACON FAN LOGITECH LOGITECH REVUE WITH GOOGLE TV SMUGGLER HOLLYWOOD GOODBY SILVERSTEIN & PARTNERS SAN FRANCISCO USA 

A02/206 DIRECTORS TIPS PEPSICO DORITOS MJZ LONDON AMV.BBDO LONDON UNITED KINGDOM 

A02/212 CAB JAM JETBLUE AIRLINE SMUGGLER HOLLYWOOD MULLEN BOSTON USA 

A02/214 GLASS HALF FULL JETBLUE AIRLINE SMUGGLER HOLLYWOOD MULLEN BOSTON USA 

A02/216 LOCAL JETBLUE AIRLINE SMUGGLER HOLLYWOOD MULLEN BOSTON USA 

A02/238 SOMETHING’S LURKING LG ELECTRONICS VACUUM CLEANER SMUGGLER NEW YORK/PSYOP NEW YORK Y&R NEW YORK USA 

A02/246 AFTER HOURS ATHLETE PUMA PUMA SOCIAL SMUGGLER NEW YORK DROGA5 NEW YORK USA 

A02/257 BRAIDS PEPSICO H2OH ARGENTINACINE BUENOS AIRES BBDO ARGENTINA BUENOS AIRES ARGENTINA 

A02/262 SLO MO CARLTON AND UNITED BREWERIES CARLTON DRAUGHT PLAZA FILMS SYDNEY CLEMENGER BBDO MELBOURNE AUSTRALIA 

A02/315 ENTRANCE HEINEKEN HEINEKEN SONNY LONDON WIEDEN+KENNEDY AMSTERDAM UNITED KINGDOM 

BEST PRODUCTION VALUE 

A03/006 MINI COUNTRYMAN FLOW MINI/BMW MINI COUNTRYMAN SMUGGLER HOLLYWOOD BSUR AGENCY AMSTERDAM NETHERLANDS 

A03/032 PELÉ (1284) VIVO VIVO O2 FILMES SÃO PAULO Y&R SÃO PAULO BRAZIL 

A03/042 GIANT BON O BON ARCOR BON O BON ARGENTINACINE BUENOS AIRES LEO BURNETT ARGENTINA BUENOS AIRES ARGENTINA 

A03/057 STAY AWAKE NISSAN NISSAN JUKE WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX TBWA\PARIS FRANCE 

CINEMATOGRAPHY 

A04/005 IPAD LIGHT PAINTING DENTSU LONDON ADVERTISING AGENCY BERG LONDON DENTSU LONDON LONDON UNITED KINGDOM 


A04/038 KITCHEN ODYSSEY LURPAK LURPAK STINK LONDON WIEDEN+KENNEDY LONDON UNITED KINGDOM 


A04/070 DULUX WALLS AKZO NOBEL DULUX STINK LONDON EURO RSCG LONDON UNITED KINGDOM 

A04/073 WELCOME MERCEDES-BENZ MERCEDES-BENZ GORGEOUS LONDON MERKLEY + PARTNERS NEW YORK UNITED KINGDOM 

A04/077 SWITZERLAND - MORE THAN MOUNTAINS SWITZERLAND TOURISM TOURISM/TRAVEL CONDOR FILMS ZÜRICH SPILLMANN/FELSER/LEO BURNETT ZÜRICH SWITZERLAND 

A04/092 AFTER HOURS ATHLETE PUMA PUMA SOCIAL SMUGGLER HOLLYWOOD DROGA5 NEW YORK USA 

A04/094 BIRTH OF A SPARTAN MICROSOFT XBOX HALO REACH BISCUIT FILMWORKS LOS ANGELES AGENCYTWOFIFTEEN SAN FRANCISCO USA 

A04/117 HUSSARS ORANGE CINEDAY PARTIZAN PARIS PUBLICIS CONSEIL PARIS FRANCE 

A04/118 FIRE PERNOD RICARD JAMESON BISCUIT FILMWORKS LOS ANGELES TBWA\CHIAT\DAY NEW YORK USA 

A04/120 STAY AWAKE NISSAN NISSAN JUKE WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX TBWA\PARIS FRANCE 

EDITING 

A05/003 KITCHEN ODYSSEY LURPAK LURPAK STINK LONDON WIEDEN+KENNEDY LONDON UNITED KINGDOM 

A05/004 BORN OF FIRE CHRYSLER CHRYSLER 200 SERIAL PICTURES NEW YORK/JOINT EDITORIAL PORTLAND WIEDEN+KENNEDY PORTLAND USA 

A05/006 TO WORK LEVI STRAUSS & CO. LEVI’S WORK WEAR SKUNK NEW YORK/JOINT EDITORIAL PORTLAND WIEDEN+KENNEDY PORTLAND USA 

A05/027 BLACK MAMBA NIKE NIKE @RADICAL.MEDIA SANTA MONICA WIEDEN+KENNEDY PORTLAND USA 

33 


FILM CRAFT SHORTLIST 

CAT TITLE ADVERTISER PRODUCT PRODUCTION COMPANY ADVERTISING AGENCY COUNTRY 

A05/029 LAST TANGO IN COMPTON VOLKSWAGEN POLO ACADEMY LONDON DDB UK LONDON UNITED KINGDOM 

A05/036 FOR EVERY BREATH MEDIBANK HEALTH INSURANCE EXIT FILMS MELBOURNE GEORGE PATTERSON Y&R MELBOURNE AUSTRALIA 

A05/048 60 THINGS IN 60 SECONDS SKY TELEVISION MY SKY THICK AS THIEVES AUCKLAND DDB GROUP NEW ZEALAND AUCKLAND NEW ZEALAND 

A05/051 WRITE THE FUTURE NIKE NIKE FOOTBALL INDEPENDENT LONDON WIEDEN+KENNEDY AMSTERDAM UNITED KINGDOM 

A05/052 AFTER HOURS ATHLETES PUMA PUMA SOCIAL RATTLING STICK LONDON DROGA5 NEW YORK UNITED KINGDOM 

A05/082 MILK RUN VOLKSWAGEN VOLKSWAGEN RANGE ROBBERS DOG FILM AUCKLAND DDB GROUP NEW ZEALAND AUCKLAND NEW ZEALAND 

A05/094 WHO KILLED DEON? THE LONDON METROPOLITAN POLICE ANTI KNIFE CRIME MAD COW FILMS LONDON ABBOTT MEAD VICKERS BBDO LONDON UNITED KINGDOM 

A05/096 ENTRANCE HEINEKEN HEINEKEN SONNY LONDON WIEDEN+KENNEDY AMSTERDAM UNITED KINGDOM 

SCRIPT 

A06/010 MODELS SONY ERICSSON MOBILE PHONE SMUGGLER LONDON DARE LONDON UNITED KINGDOM 

A06/012 GUIDOS SONY ERICSSON MOBILE PHONE SMUGGLER LONDON DARE LONDON UNITED KINGDOM 

A06/015 TODDLERS SONY ERICSSON MOBILE PHONE SMUGGLER LONDON DARE LONDON UNITED KINGDOM 

A06/020 WRITE THE FUTURE NIKE NIKE FOOTBALL INDEPENDENT LONDON WIEDEN+KENNEDY AMSTERDAM NETHERLANDS 

A06/030 FLAG ALLSTATE INSURANCE EPOCH FILMS BEVERLY HILLS/MASSMARKET NY/ANOTHER COUNTRY CHICAGO LEO BURNETT CHICAGO USA 

A06/031 GPS ALLSTATE INSURANCE EPOCH FILMS BEVERLY HILLS/MASSMARKET NY/ANOTHER COUNTRY CHICAGO LEO BURNETT CHICAGO USA 

A06/032 LAWN GAME ALLSTATE INSURANCE EPOCH FILMS BEVERLY HILLS/MASSMARKET NY/ANOTHER COUNTRY CHICAGO LEO BURNETT CHICAGO USA 

A06/033 TEEN DRIVER ALLSTATE INSURANCE EPOCH FILMS BEVERLY HILLS/MASSMARKET NY/ANOTHER COUNTRY CHICAGO LEO BURNETT CHICAGO USA 


A06/049 SWAGGER WAGON TOYOTA TOYOTA SIENNA CAVIAR LA LOS ANGELES SAATCHI & SAATCHI LA USA 

A06/065 KEVIN BACON FAN LOGITECH LOGITECH REVUE WITH GOOGLE TV SMUGGLER HOLLYWOOD GOODBY SILVERSTEIN & PARTNERS SAN FRANCISCO USA 

A06/079 ONE HITTER NEW ERA BASEBALL CAPS HUNGRY MAN NEW YORK THE BROOKLYN BROTHERS NEW YORK USA 

A06/081 BORN OF FIRE CHRYSLER CHRYSLER 200 SERIAL PICTURES CULVER CITY/JOINT EDITORIAL PORTLAND WIEDEN+KENNEDY PORTLAND USA 

A06/089 AFTER HOURS ATHLETE PUMA PUMA SOCIAL SMUGGLER NEW YORK DROGA5 NEW YORK USA 

A06/109 COPIER - LANDON DONOVAN ESPN SPORTSCENTER O POSITIVE FILMS NEW YORK WIEDEN+KENNEDY NEW YORK USA 

A06/111 PATHOLOGICAL LIAR LAND ROVER LR4 O POSITIVE FILMS NEW YORK Y&R NEW YORK USA 

A06/115 QUESTIONS PROCTER & GAMBLE OLD SPICE MJZ LOS ANGELES WIEDEN+KENNEDY PORTLAND USA 

BEST USE OF MUSIC 

A07/004 WRITE THE FUTURE NIKE NIKE FOOTBALL ANONYMOUS CONTENT CULVER CITY/INDEPENDENT LONDON WIEDEN+KENNEDY AMSTERDAM NETHERLANDS 

A07/021 WELCOME BACK T-MOBILE TELECOMMUNICATIONS SMUGGLER LONDON SAATCHI & SAATCHI LONDON UNITED KINGDOM 

A07/027 SENSITIVE ARMPITS UNILEVER REXONA SENSITIVE HUNGRY MAN NEW YORK PONCE BUENOS AIRES ARGENTINA 

A07/032 ENTRANCE HEINEKEN HEINEKEN SONNY LONDON WIEDEN+KENNEDY AMSTERDAM NETHERLANDS 

A07/058 HAIRMOTICONS BRAUN SATIN HAIR 5 MULTISTYLER VCC PERFECT PICTURES DÜSSELDORF/DAS WERK DÜSSELDORF BBDO GERMANY DÜSSELDORF GERMANY 

A07/074 SWAGGER WAGON TOYOTA TOYOTA SIENNA CAVIAR LA LOS ANGELES SAATCHI & SAATCHI LA USA 

A07/093 BLOCK PROJECT MATTEL FRANCE SCRABBLE PARANOID PROJECTS PARIS OGILVY FRANCE PARIS FRANCE 

A07/107 VICTOR SONY PLAYSTATION GARLIC FILMS MADRID DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES ARGENTINA 

A07/108 TRAIN GOVERN. OF INDIA MINIS. OF RAILWAYS RAILWAYS NIRVANA FILMS MUMBAI OGILVY & MATHER MUMBAI INDIA 

A07/126 BORN OF FIRE CHRYSLER CHRYSLER 200 SERIAL PICTURES CULVER CITY/JOINT EDITORIAL PORTLAND WIEDEN+KENNEDY PORTLAND USA 

A07/132 BLAM!BLAM! PUMA FAAS LAB MJZ NEW YORK DROGA5 NEW YORK USA 

A07/147 FORCE VOLKSWAGEN VW PASSAT ENDLESS NOISE LOS ANGELES DEUTSCH INC. LOS ANGELES USA 

A07/157 DRUNK VALET BAR AURORA E BOTECO FERRAZ CHAIN OF BARS HUNGRY MAN SÃO PAULO OGILVY BRASIL SÃO PAULO BRAZIL 

A07/163 LE QUEST STELLA ARTOIS STELLA ARTOIS RATTLING STICK LONDON MOTHER LONDON UNITED KINGDOM 

A07/169 BRICK THIEF LEGO LEGO MJZ LOS ANGELES PEREIRA & O’DELL SAN FRANCISCO USA 


A07/173 WEDDING T-MOBILE TELECOMMUNICATIONS GORGEOUS LONDON SAATCHI & SAATCHI LONDON UNITED KINGDOM 

SOUND DESIGN 

A08/002 WRITE THE FUTURE NIKE NIKE FOOTBALL INDEPENDENT LONDON WIEDEN+KENNEDY AMSTERDAM UNITED KINGDOM 

A08/005 XYLOPHONE NTT DOCOMO MOBILE PHONE ENGINE PLUS TOKYO/DRAWING AND MANUAL TOKYO DRILL TOKYO/DENTSU TOKYO JAPAN 

A08/019 CHROME SPEED TESTS GOOGLE CHROME BROWSER FIRST AVE MACHINE NEW YORK BBH NEW YORK/GOOGLE CREATIVE LAB NEW YORK USA 

A08/023 TRAVEL SYMPHONY DEUTSCHE BAHN GERMAN RAIL DOITY PRODUKTION BERLIN OGILVY FRANKFURT GERMANY 

A08/040 SLEEP WELL SUNRISE TELECOMMUNICATION TELECOMMUNICATION SERVICE ULTRA IMAGES ZÜRICH SPILLMANN/FELSER/LEO BURNETT ZÜRICH SWITZERLAND 

A08/049 VOICE OVER CADBURYS LUNCH BAR VELOCITY FILMS JOHANNESBURG OGILVY JOHANNESBURG SOUTH AFRICA 

A08/050 TICK CANAL + TV CHANNEL WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX BETC EURO RSCG PARIS FRANCE 

SPECIAL EFFECTS & COMPUTER GRAPHICS 


A09/026 CUBEHEAD DRENCH DRENCH WATER SMITH AND JONES LONDON/MPC LONDON CHI & PARTNERS LONDON UNITED KINGDOM 

A09/029 SPRING AT&T AT&T RABBIT CONTENT NEW YORK BBDO ATLANTA USA 

A09/085 VICTOR SONY PLAYSTATION 3 GARLIC FILMS MADRID DEL CAMPO NAZCA SAATCHI & SAATCHI BUENOS AIRES SPAIN 

A09/086 TICK CANAL + TV CHANNEL WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX BETC EURO RSCG PARIS FRANCE 

A09/103 WRITE THE FUTURE NIKE NIKE FOOTBALL ANONYMOUSCONTENT@INDEPENDENT LONDON/THE MILL LONDON WIEDEN+KENNEDY AMSTERDAM UNITED KINGDOM 

A09/108 SOMETHING’S LURKING LG ELECTRONICS VACUUM CLEANER SMUGGLER NEW YORK/PSYOP NEW YORK Y&R NEW YORK USA 

ANIMATION 

A10/015 SPOTS V STRIPES CADBURY CADBURY ACADEMY LONDON/MPC LONDON FALLON LONDON UNITED KINGDOM 

A10/021 THIS OR THAT KIA KIA SOUL PARTIZAN LONDON DAVIDANDGOLIATH EL SEGUNDO USA 

A10/035 REVOLUTION MICROSOFT XBOX FABLE III SMUGGLER HOLLYWOOD/PSYOP NEW YORK AGENCYTWOFIFTEEN SAN FRANCISCO USA 

A10/038 HAIRMOTICONS BRAUN SATIN HAIR 5 MULTISTYLER VCC PERFECT PICTURES DÜSSELDORF/DAS WERK DÜSSELDORF BBDO GERMANY DÜSSELDORF GERMANY 

A10/092 ABOVE EVERYTHING ELSE... SILESTONE BY COSENTINO KITCHEN WORKTOPS ALEX ROMAN MADRID SPAIN 

A10/097 WORLDS SMALLEST CHARACTER ANIM. NOKIA NOKIA N8 AARDMAN ANIMATIONS BRISTOL WIEDEN+KENNEDY LONDON UNITED KINGDOM 

A10/106 BALLOONS MTV INSTITUCIONAL PARANOIDBR SÃO PAULO/RAW PRODUTORA DE AUDIO SÃO PAULO LODUCCA MPM SÃO PAULO BRAZIL 

A10/107 A WHIRLWIND OF CHANGE RENAULT ELECTRIC CARS DIGITAL DISTRICT PARIS BLUE ADVERTAINMENT PARIS FRANCE 

A10/122 TESTIMONY OF A SNAIL SEQUOIA ORGANIC & NATURAL MARKET WIZZ CLICHY MARCEL PARIS FRANCE 

A10/127 E3 UBISOFT RAVING RABBIDS WANDA PRODUCTIONS SAINT-DENIS LA PLAINE CEDEX LUDI FACTORY MONTREUIL FRANCE 

35 


T 

HE INTELLIGENT WAY TO 

WIDESPREAD in Africa is the Take the BRIC acronym. remarkable happened. Arguably, letter ‘s’ from lower to upper case 

belief that one should raise one’s Coined in 2001 by Jim O’Neil something even more significant will almost certainly alter the entire 

bed (or in this case the equally of Goldman Sachs, he predicted �� destiny �� of a continent. �� 

�� that by 2014 four �� key emerging �� Cup on African soil. 

At The Jupiter Drawing Room 

prevent the unwelcome advances of economies, Brazil, China, India and Along with the Christmas (South Africa), an agency that is 

little spirits called Tokoloshes. Russia, would account for over 60% cards, an invitation arrived on the SA born and bred, we celebrated 

Some Europeans may find this of global growth. (To his lasting desk of South African President with wild aplomb on our agency 

�� credit he settled on BRICs �� and not �� Jacob Zuma. It was from the heirloom; an original Chesterfield 

�� CRIBs). �� Chinese President, Hu Jintao, sofa (our first item of furniture 

touching wood or even donning Historically, South Africa sat on requesting South Africa joins the remains convincingly emblematic 

a favourite pair of underpants to the sidelines, no doubt marvelling at BRICs group of major emerging of the creativity and craftsmanship 

bring good luck. 

the power and status wielded by this markets. 

at the heart of the agency). 

Superstitions, it’s clear, take supreme quartet. 

BRICs becomes BRICS. And We concur with the sentiments 

many forms and guises. As do bricks. Then, late last year, something the simple metamorphosis of the expressed by the International

BUILD YOUR BRAND IN AFRICA. 

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 significance 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 gvwarsop@jupiter.co.za? 

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.

38 


FOCUS ON LATIN AMERICA

f Gisele Bundchen was 

the star of a Pantene 

campaign by Grey 

The 

beautiful 

south 

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 

BRAZIL’s ascent into the ranks of globally significant 

economic powerhouses has been much discussed, 

but one fact less talked about is that President 

Lula’s administration created 20 million new 

consumers, which has had a galvanising effect on 

the country’s advertising agencies and spot producers. Antonio 

Carlos Accioly, executive producer at Margarida Filmes, is seeing 

multiple changes on the home front: “Today we are working 

hard for the local market and in particular for clients such as 

Unilever, Procter & Gamble and its agencies,” he says. “The influence 

of the strengthening of the Brazilian economy is manifest 

in the growing number of multinational agencies entering the 

local advertising market and the presence of new brands. We 

have also noticed that Brazil is attracting more films, having 

recently served as a location for large productions like The Fast 

And The Furious 5 by Justin Lin, the animated film Rio by Carlos 

Saldanha, Dawn Twilight by Chris Weitz, The Incredible Hulk by 

Louis Leterrier among others.” 

Two of Margarida’s biggest jobs of the last year were car 

commercials for Citroen and Mitsubishi. “They were very challenging 

because of the huge structure created to transport the 

vehicles, the massive lighting equipment and certain particularities 

of the locations where it was filmed. The Citroen spot was 

filmed on the road linking the cities of Petropolis and Juiz de 

Fora, which was entirely closed for filming, and the Mitsubishi 

Paje was shot in the sand dunes of Arraial do Cabo,” Accioly says. 

“Currently the challenge we face is to be able to maintain the 

quality of the films, and increase our base costs while staying 

active in an increasingly competitive market.” 

Margarida has a complete post-production and 3D set-up 

at the company’s headquarters in Sao Paulo, and more than five 

affiliates across the country, including Porto Alegre, Curitiba 

39 

and Brasilia. According to Grey Brasil’s creative director, Guy 

Costa, and executive creative director, Alexandre Scaff, Brazil is 

full of opportunities: “It represents half of the economy of Latin 

America. But what is really worth mentioning is that communication 

is part of the engine of this economy and culture. In Brazil, 

businesses and government institutions see communication as a 

great ally. The Brazilian way is that we use creativity to do business 

for our clients, including introducing ideas that they don’t 

even know they need. This means being in tune with the busi- 

“THE BRAZILIAN WAY IS THAT WE 

USE CREATIVITY TO DO BUSINESS FOR 

OUR CLIENTS, INCLUDING 

INTRODUCING IDEAS THEY DON’T EVEN 

KNOW THEY NEED” 

Guy Costa, Grey Brasil 

ness of our clients to identify all possible opportunities. To do so, 

the agency has to be creative as a whole. This applies to both 

local clients and international ones.” Grey’s biggest challenge 

last year was also the source of Costa’s greatest pleasure: “The 

Hair Samba integrated campaign for Pantene was a great challenge 

because it was a new idea. Imagine launching a new dance 

step in Brazil during the carnival! It involved creating a dedicated 

samba school and an internet contest, plus the sponsorship 

of major television networks in Brazil. The result was more than 

5,000 people dancing the Hair Samba at the carnival in Rio, 

$25m of spontaneous media and considerable growth of sales 


n 

The Lancia shoot 

in Teide national 

park, Teneriffe 

WHILE life in Greece right now may be temporarily 

less stable than the locals would wish 

it to be, the economic situation is driving local 

production companies to raise their game after 

a decrease of about 30% in turnover last year. 

“Business was slow,” admits Spiros Mavrogenis, executive 

producer at Lynx and president of producers’ association PACT. 

“But to address the crisis, production companies are trying to 

find creative solutions for agencies and brands at reduced costs 

in order to keep business moving. 

“This effort seems to be having beneficial effects and, production-wise, 

Greece is one of the most cost-effective countries 

in Europe thanks to the combination of highly professional crews, 

one of the mildest climates in Europe. 

“Greece is currently a rapidly growing production service 

destination because the crisis, and the consequent price reductions 

have become a challenge for local production service companies 

who are determined to make the country even more attractive 

than it already is.” 

The majority of foreign work comes from France, Germany, 

the UK, Italy and Poland, with Russia, the US, Japan and the 

Middle East also regular visitors: 

“There also seems to be a growing interest from Scandinavian 

countries,” Mavrogenis says. “In terms of sites, the Olympic 

facilities are still quite popular, especially the Olympic stadium 

by Santiago Calatrava. But, apart from the famous and obvious 

places such as the ancient ruins and the iconic Cycladic 

FOCUS ON SOUTHERN EUROPE 51 

“PRICE REDUCTIONS HAVE BECOME A 

CHALLENGE FOR PRODUCTION SERVICE 

COMPANIES WHO ARE DETERMINED TO 

MAKE THE COUNTRY EVEN MORE 

ATTRACTIVE THAN IT ALREADY IS” 

Spiros Mavrogenis, Lynx 

islands, Greece has a lot more to offer. We have a very wide 

variety of locations ranging from mountains, canyons, lakes, 

rivers and large fields, through to impressive modern interiors, 

plus both modern and classical exteriors, covering most 

location requirements.” 

Tenerife and its surrounding forest and volcanic landscapes 

are among the most striking in southern Europe, unlike anything 

else in the region. It also offers a variety of roads types and 

surfaces which have made it a firm favourite for car adverts. 

“There is a pine forest in Teide national park where the 

trees are arranged in long, perfect straight lines, which is a popular 

location, and then there other parts of the forest which are 

denser and wild-looking,” Concha Diaz, Tenerife film commissioner, 

says. “And cutting through them we have so many different 

styles of road, which is why this year we have had shoots for 

Nissan, Ford, Toyota, Ducatti and Lancia.” 


Surreal Uyuni as 

featured in the Uniqlo 

spot (OPENER) 

within the first two months.” For WMcCann regional director 

Luca Lindner, the last year presented a very different kind of 

challenge, to fuse Washington Olivetto and McCann Brazil to 

create WMcCann. “It is now one of the top five agencies in the 

market and both our clients and our people are very happy, combining 

WBrazil’s local soul and creative ethos with McCann’s 

global attitude and strategic planning tradition has been an amazing 

task. And along the way we’ve picked up new business, such 

as Walmart in Central America, new digital assignments for Nestle 

Brasil, Telkom in South Africa and Sony Ericsson for parts of 

the Middle East.” 

Meanwhile, back on Planet Brazil, Lindner sometimes has 

difficulty believing what is happening: “I wake up every morning 

and check if I’m dreaming, but it is real. There is growth 

everywhere. All our clients are on double-digit growth and we 

are doing very well. But beyond the numbers, today in Brazil 

and in most of the region under my responsibility, from Dubai to 

Kenya and from Costa Rica to Brazil, there is the sort of openness 

and optimism about the future that Europe had in the ‘50s/’60s.” 

For Alexandre Gama, president and creative and planning 

director 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 or 

non-Christian, for example, when it’s clear that you’re describing 

religion from your own point of view. But in communication, 

the real professionals have to be agnostic and I’m a believer in 

the 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 all 

forms of communication that can help my ideas to reach people 

FOCUS ON LATIN AMERICA 41 

“IF BEFORE WE ACCOMPLISHED MUCH 

WITH LITTLE, WE ARE GOING TO 

ACCOMPLISH MUCH MORE WITH 

MORE... BUT WE WILL HAVE MORE 

SOPHISTICATED PRODUCTION” 

Sergio Valente, DM9DBB 

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 a 

top-five agency in Brazil by media-buying rank,” he says. “The 

agency is currently as relevant to the agency network business as 

the London office. There’s no other case like this in the country, 

even when you take into account that the country has been boosted 

by recent economic growth.” 

For Marcos Golfari, regional CEO for Ogilvy & Mather Latina, 

and Gaston Bigio, regional creative director, 2010 was the 

best in the last 10 years: “It was even better than pre-crisis 2008, 

which was a record year — and this is only talking about numbers,” 

Golfari says. “From a business point of view, we won important 

new clients, including YPF in Argentina, Bimbo in Mexico, 

Claro, L’Occitane and Siemens in Brazil, Nestea and Comcel in 

Colombia, and Jumbo in Chile.” 

According to Golfari, 2010 was a year of broad-based expansion. 

“There was growth as well in newly initiated areas such as 

PR, winning the Image Of Mexico campaign and, in Brazil, the 


42 


FOCUS ON LATIN AMERICA 

Embratur for Europe campaign. Our plan for 2011 is what we 

consider a realistic growth rate, of 10%. Currently Brazil and 

Mexico are the great motors of Latin America, closely followed 

by Argentina, and Colombia which has been reactivated in recent 

years.” 

Bigio agrees: “The region is in the middle of profound 

change from the classical image based on tango and samba culture 

to something quite new. We have our own way of looking at 

the world and inevitably lots of ideas that have local and international 

resonance. 

“It’s the same with our uses of colour. Colours often have 

a historical relevance here, and they reflect the diversity and 

energy of the region.” 

In order to justify its presence in the region, Ogilvy has 

had to focus on the local creative level. “I believe that this is 

reflected 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 a 

TEDx conference and then talk about what they’d seen and heard 

A R G E N T I N A 

AN ELEPHANT WALKED INTO A BAR… 

ARGENTINIAN producer 

Hachiko Films faced numerous 

challenges shooting the Noah’s 

Bar spot for Sprite and agency 

Santo Buenos Aires. “The production 

had to find a good balance 

between humour and 

non-aggressiveness, because 

we had to show animals having 

sex, and a teenage girl 

repressing her sexual impuls- 

es, and all that had to be able 

to be aired on TV, cinema and 

internet,” director Claudio 

Prestia, says. “The spot was 

shot in Buenos Aires in five 

days, with a fake bar that the 

art department had to build to 

the scale of each animal couple 

seated at each table.” Elephants, 

donkeys, tortoises, 

goats and guinea pigs were 

shot flirting through to mating, 

and then the shoot was 

followed by two months of 

post-production. “Everyone 

was happy with the results, 

but it is true what actors say,” 

Prestia says. “When there are 

so many technicians behind 

the scenes, there was no true 

love among any of the animal 

couples.” 

to their customers.” 

Sergio Valente, president of DM9DDB, has also been busy 

with the mechanics of the agency: “In 2010 we concentrated on 

consolidating DDB Brazil as a convergent agency, a process that 

started in 2004 and led us to winning the Cyber Agency of the 

Year at the Cannes Festival in 2005. Therefore, it has been important 

for us to work with our existing clients to win their digital 

accounts, in order to consolidate our strategy of thinking, creating 

and implementing truly convergent brand building. “We 

won the digital accounts of clients such as Whirlpool Digital, 

C&A Mobile and C&A Digital (the largest clothing retailer in 

Brazil), Bohemia Digital (a premium beer by Ambev for the 

Brazilian market) and Itau Digital (one of Brazil’s largest banks). 

One outstanding result was the convergent campaign for Whirlpool 

brand 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 published 

by Troiano consulting, of brands with the greatest digital DNA 

in the Brazilian market.” 

It seems that Brazil’s prize-winning can-do attitude has 

not been — and is unlikely to be — affected by the rapidly growing 

economy. “I don’t think it will change much. Brazilians are 

creative and they will continue being creative,” he says. “But, if 

before we accomplished much with little, we are going to accomplish 

much more with more, and I have no doubt that local creativity 

will stay at a high level, but for sure we will have more 

sophisticated productions.” 

Changes are under way as well as at Y&R Brazil, where 

Rui Branquinho took over as creative vice-president in January. 

“He has already had the opportunity to put some excellent work 

on the streets,” says Marcos Quintela, president of Y&R Brazil. 

“Among them is a project for Santa Casa, and the campaign 

developed for Miami Ad School, which stimulates youngsters to 

create instead of copying, using only the traditional letterset.” 

Following more than a decade of steady growth and consolidation, 

Quintela is looking to move ahead more rapidly. “The 

momentum is now to boost growth using the opportunities offered 

by the re-shaping of Brazil’s social pyramid,” he says. “The considerable 

growth of an emerging class of consumers, alongside 

more accessible credit and not forgetting the major sporting 

events ahead, mean that Y&R Brazil’s brand portfolio will certainly 

benefit from the combination of all these opportunities.” 

Sport-related opportunities are already happening. “The 

project developed for Vivo around the sponsorship of the Brazilian 

soccer team was a huge challenge,” Quintela says. “Most difficult 

was keeping the brand in focus during the World Cup 

event across this huge country without the use of TV as a massmedia 

vehicle. Y&R developed an online platform engaging 

consumers during the entire period, culminating with fantasy 

documentary O Ultimo Gol Do Pele, which consumers loved. 

Research results showed growth in consumer preference in a 

period where the brand was absent from traditional mediums,

n Brastemp 

created a huge 

buzz in Brazil for 

Whirlpool 

proving the success of the strategy. “Another project that makes 

us extremely proud is the campaign created for Santa Casa de 

Misericorida de Sao Paulo, the oldest hospital in the city. We 

have been voluntarily responsible for the institution’s communication 

since 2004 and the campaign is part of the 5% movement, 

to encourage 5% of Brazilians to donate blood. Our aim was to 

inspire advertisers to donate space in shared content and communication 

pieces by offering other agencies downloadable 

intervention tags to place in their own clients’ ads.” In Chile, 

Sylvie Dube, executive producer at Moonlighting, is seeing a 

new wave of US clients taking advantage of the country’s relative 

proximity. “Our new business is partly location-driven and 

partly thanks to the fact that talent rates are low,” she says. 

“Plus our crews are excellent, and thanks to their efficiency 

and the local geography, we can do a lot of different scenarios 

in a short time. 

“Recently we shot a Tiger beer commercial which involved 

mocking up Italy, Germany, the US and Peru, and we managed 

all four in the same day. Production company Traktor told us 

that we were at the same level as LA — quite a compliment! 

And then they hired our art director and flew her out to Cambodia 

for a further shoot.” Dube is justifiably proud of her team 

and its can-do attitude. “We worked with Boxer on a shoot that 

THANKS TO OUR CREWS’ EFFICIENCY 

AND THE LOCAL GEOGRAPHY, WE CAN 

DO A LOT OF DIFFERENT SCENARIOS 

IN A SHORT TIME” 

Sylvie Dube, Moonlighting 

100% Service 100% Production 

CHILE / ROMANIA / SOUTH AFRICA 

www.moonlighting.co.za 

43 

involved multiple car crashes, we’ve staged a boat race for Timberland 

with a stunt man jumping from boat to boat, and we’ve 

done quite a few kids spots recently. Chilean laws covering 

working with kids are less bureaucratic than in both Argentina 

and Brazil, where you are obliged to make applications seven 

days before the shoot, which can be impossible for some spots. 

“In terms of having kids working on set, Chilean law is less 

strict in terms of hours per day but, as we all know, working 

with 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 for 

UK pharmaceutical brand Boots. “That was another quite intense 

job,” Dube says. “It involved several short stories per day and 


44 

r Miami Ad School - Letraset 


FOCUS ON LATIN AMERICA 

really tested our ability to move the set quickly from place to 

place. We are also now working regularly on co-productions 

with other service companies in Argentina and Brazil in order 

to be able to offer a greater range of locations and production 

options.” 

Ocean Films’ executive producer, Cristian Marini, recently 

found himself in the middle of Bolivia at over 3,000 metres 

altitude on the huge and beautiful salt flats of Uyuni. “We went 

to Uyuni because our client Uniqlo asked us to make a spot 

there. Aesthetically it is stunning, especially in the rainy season 

when the shallow water on the flats creates a huge mirror 

which reflects the sky and clouds. But there is so little production 

support in Bolivia that we were obliged to take almost 

everything we were going to need with us.” 

Following a stay in La Paz to acclimatise, the crew drove 

in a convoy of 4x4s to Uyuni. “And when we got there, guess 

what? No rain, so no big beautiful mirror! But just before we 

were due to leave, the rain fell and we got that amazing effect 

with no horizon, where you don’t know whether you are in the 

sky or on the ground.” 

Ocean Films has also shot in Brazil a reality show called 

Short Cut To Hell for MTV India, and just finished filming the 

latest spot for the Mini Cooper. Of the latter Marini says: “I 

can’t say too much because it has not yet been broadcast but 

the story is based around a samba drome, and involved hundreds 

of extras plus a parade through the streets with all the 

usual carnival trimmings and decoration. It’s a great spot and 

we really enjoyed working with Thomas & Thomas.” 

Another MTV project, this time a spot for MTV Brazil 

made by Paranoid Films, involved an animated sequence with 

each drawing appearing on a white balloon which was burst 

by a needle moving down a 140-metre track. “There were 3,600 

balloons, so in fact, in principle we needed a 220-metre track 

but were only able to build 140 metres, so there are a couple of 

edits, but they are very hard to spot,” executive producer Egisto 

Betti says. “We also had to spend quite some time finding 

the optimum velocity, which turned out to be 24 balloons per 

frame. And, due to the nature of the job, once we had started 

we just had to keep going, so we shot for 36 hours straight 

through.” 

The effort was worth it though, with the spot having created 

a huge buzz on professional and online video sites, generating 

hundreds of thousands of views. Betti says: “A simple 

idea done well can be very powerful.” 

Another simple idea that Paranoid has pioneered in Brazil 

is presenting treatments to clients. “It is something that is normal 

procedure in many other places but not in Brazil, and our 

clients really appreciate that they know exactly what they’re 

getting,” Betti says. “Plus we can offer a roster of foreign directors 

from our offices in Paris and LA, and on a local level, Dulcidio 

Caldera, who directed the MTV balloons spot, used to be 

a creative director at Almap/BBDO, so he is able to act as a 

bridge between the agency and the production.” 

Jan Roldanus of GreenGo Films found himself on a beach 

with a 15-metre mock-up whale last month. “It was a job for 

LU’s Prinz biscuits where the story is about the amphibian being 

saved by a group of kids who make a huge surfboard in order 

to refloat it. “In terms of complication, though, the BP Sumo 

cars spot was quite a challenge. It involved cars on a round 

platform floating in the sea having a sumo-style contest, trying 

to push each other into the water. Another complex job was for 

EA Sports where we had to recreate a judo scene, a kick-box

n The Santa Casa 5% campaign 

ing scene, a US stadium and a Brazilian scene, all in three days. 

The stadium scene was achieved with rows of bleachers in a 

six-sided stadium and 200 extras, which was then made to 

look like a crowd of thousands in post-production.” 

GreenGo also made a spot for the film Rio, which had 

Jamie Foxx on the beach in Rio de Janeiro, descending on a zip 

line, in costume, into a pool of blue feathers. 

According to Steve Solot at the Rio de Janeiro Film Commission, 

his office is being bombarded with shooting requests. 

“Since the end of filming of Fast & Furious 5 last November, it 

has been non-stop. And on top of that, the film Rio has really 

focused people’s attention on this city’s great sites and tourist 

spots, which has had a very positive effect generally.” 

Although the city’s favelas may seem to still be no-go 

areas, Solot sees them very differently: “There is a very active 

‘pacification programme’, fully supported by the state secretary 

of security, which is working very well because it is being 

done with real imagination. For example, there was the Five 

Times Favela film, which featured stories of and by favela dwellers 

did well at the Cannes Film Festival and is changing outsiders’ 

opinion of these areas, but one of the most significant changes 

was the installation of a 3D cinema in a favela known as Alemao, 

where the locals get a discount. The positive effect it has 

had on the community is quite remarkable. And it’s important 

to remember that the favelas are not just shanty towns, they 

are a huge source of labour for the city.” ^ 

45 

� � � � � � 

� � � � � � � � � � � 

�� 

� � � � � � � � � � � � � � � 

� � � � � � � � � � � � � 

� � � � � � � � � � 


Talking up 

Mexico 

Mexico has what it takes to be an 

advertising A-lister — great locations, 

a deep creative tradition, abundant 

talent, excellent facilities — so why is 

it still playing catch-up to the US? 

Gary Smith reports 

THERE are many misconceptions about Mexico, 

the biggest and most inaccurate being that Mexicans 

are lazy. In fact, Mexico is one of the most 

hard-working nations in the world. 

Another widely held idea about the country that is, however, 

true is that the Mexican advertising sector has not yet found 

its own form of creativity. “Being such a close neighbour to the 

US has tended to make agencies mimic what they see across the 

border, because it is regarded as aspirational,” says Alejandro 

Cardoso, CEO of Publicis Latin America. “So despite the fact 

that Mexico has deep roots in art, architecture and film, and has 

its own very individual sense of colour, we are not seeing that 

expressed in ad campaigns. But it’s something I feel very deeply 

about and I’m committed to changing it.” 

Change is partly being forced by the arrival of the greater 

accountability that comes with digital technology. “Digital is 

growing fast and the work is evolving rapidly,” says Hector Fernandez 

Maldonado, joint-general director and vice-president of 

creative at Publicis Mexico. “What is changing is that agencies 

are increasingly interested in pleasing consumers as much as 

clients. And since digital started to erode the dominance of TV, 

they are very bothered about what they say about brands, especially 

when it goes viral.” 

He adds: “We are very optimistic about the future. What 

we’d really like to see is Mexico better represented at events like 

the Cannes Lions.” 

The Mexican Association of Filmmakers (AMFI) has been 

working for the last 30 years with a group of commercials producers 

dealing with production-related issues in Mexico. This 

entails developing tools and criteria to improve and professionalise 

the industry and to negotiate, as a group, benefits for its 

affiliated producers. 

“Mexico’s production standards are very high,” says Carlos 

Barrón Noé, director general of AMFI. “Mexican technicians 

and production crews have always been among the best qualified 

in the world, thanks to our motion-picture industry and the 

production services we provide to foreign clients, especially 

those from the US.” 

AMFI members also work in the production of local ads, 

which is a large market comprising about 3,500 TV commercials 

a year for national broadcast. “We believe the volume of local 

spots will grow considerably over the next few years thanks to 

the spread of cable TV,” Barrón Noé says. 

One of Mexico’s most valuable resources is its people. “Our 

members range from well-known directors through to young 

directors at the beginning of their careers who are doing inter- 

esting things,” Barrón Noé, says. “We have production companies 

for all tastes and requirements. And, as I just mentioned, 

the quality of our technicians is also a significant attraction for 

producers who are thinking of coming to film here in Mexico.” 

Mexico’s geography and climate — two essential elements 

in the production business — are also a great advantage. Barrón 

Noé elaborates: “We have deserts and tropical rainforests, the 

Caribbean and the Cortes seas, and our architecture goes from 

colonial houses to state-of-the-art, intelligent buildings. To be 

honest, you can find almost any location you need in Mexico,” 

he says. “And we also have a good infrastructure, with the most 

modern sets, audio studios, post-production services, restaurant 

services and equipment-rental services.” 

There is also a valuable tax-exemption programme and 

AMFI now has total support from the country’s film commission. 

“On top of that, Mexico is in a very strong geographical 

position, being close to the US and easy to reach from both Europe 

and Asia. All of these elements make filming in Mexico a great 

experience,” Barrón Noé says. 

Given the number of negative stories about Mexico’s warring 

drug barons, worries about security are a major concern for 

AMFI. 

“This is an important issue and, at the moment, there are 

some places we wouldn’t recommend for filming purposes,” 

Barrón Noé admits. “But we are talking about only a very few 

places along the border with the US. Mexico is a big country and 

drug-related violence is located in very specific areas. So saying 

that it’s not safe to film in Mexico is a bit like saying you shouldn’t 

work in the US because of tornados. You certainly don’t want 

to 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 should 

stay away from, but most of the country is perfectly safe.” ^ 

MEXICO 47 

n 

Publicis’ 

Alejandro 

Cardoso: 

committed to 

change 


48 

FOCUS ON SOUTHERN EUROPE 

A southern love 


affair 

Filmmakers love Southern europe. It boasts a bewildering 

variety of location types, micro-climates and coastal areas 

— and the region is also finding that the tightening of industry 

budgets plays to its natural strengths. Gary Smith reports 

49 

r Gucci campaign by Filmmaster 


COMMERCIALS AND PRODUCTION SERVICES 

MILAN · ROME · MADRID · DUBAI · ��

On top of that, the island’s dramatic, lunar look is currently 

playing host to the set of Clash Of The Titans II. “Although perhaps 

Tenerife is best known among the advertising community 

as a great place to shoot cars, we also attract plenty of other 

product categories,” Diaz says. “Recently Nestea shot a campaign 

here for Germany, National Geographic and also Samsung 

have recently shot a spot. Generally, business has been very 

good so far this year, with 36 productions up to the end of March.” 

Newly appointed Maltese film commissioner Peter Busuttil 

reports that the island has been having an excellent 2011 

with, among other major productions, the whole of the HBO 

series Game Of Thrones being filmed on Malta and in Ireland. 

“We have also recently welcomed several Italian TV movies 

and series, as well as The Last Romans, which was a Russian 

production, plus generally we are seeing more productions from 

India,” he says. “The latter is not yet a question of big Bollywoodtype 

projects but that sort of thing is of course what we are aiming 

to attract here, after several interesting but lower-budget 

productions used the island.” 

After a total of 297 filming days in 2010, there have been 

more than 200 already this year. “We have Sky TV filming the 

13-part series Sinbad at the moment, and they’ll be here until 

2012,” Busuttil says. “And Brad Pitt’s new feature film, World 

War Z, will be shooting here imminently. Malta has so many 

amazing locations, but one aspect that I think people overlook is 

that this is a great place to be when you’re not on set. The cast of 

Game Of Thrones were here for long periods and I know they 

were perfectly happy to stay on the island when they weren’t 

needed on set, because there are so many ways to relax and have 

a good time here.” 

That said, Busuttil is aware of the island’s limitations in 

other areas: “We still have room for improvement in plenty of 

ways. Although we have the infinite-horizon water tanks, we 

still need a proper sound stage in order to be able to provide 

everything that a movie needs. We know what needs doing and 

FOCUS ON SOUTHERN EUROPE 53 

“GIVEN THE FACT THAT A LOT OF THE 

LOCAL BUSINESS HAS COLLAPSED ... WE 

HAVE BECOME ‘A PRODUCTION 

COMPANY BASED IN ITALY’” 

Karim Bartoletti, Filmmaster 

what needs to be improved to take the island and the film commission 

office to the next level. We have a strong base to build 

on from what was done previously, but I intend to further improve 

our offer.” 

Recent shoots in Malta include a spot for MasterCard, a 

six-day shoot for French Connection UK and a spot for Italian 

tuna brand Tonno Nostromo. 

Karim Bartoletti, partner and executive producer at 

Milan/Rome-based Filmmaster, and a member of this year’s 

Film Craft jury, is currently involved in the radical transformation 

of a company whose core business used to be largely local. 

“Filmmaster is 35 years old this year, which, compared to the 

normal lifespan of a company in this sector, is quite exceptional,” 

he says. “But our business is changing so profoundly and so rapidly 

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 production 

company, we have become ‘a production company based in Italy’. 

One of the reasons we did that is because our business has become 

global. We get calls from all over the world, we shoot all over the 

world, we do service jobs for companies across the world, and 

we also source directors from all around the world, and that 

makes the boundaries of our business almost non-existent.” 

Although the company’s focus has become much more 

global, Gucci and Pirelli are two regular and important clients. 

n 

Filmmaster’s 

spot for Pirelli 


54 

n 

Director Felix 

Fernandez de Castro 

shot this spot for 

Iberdrola over five 

days in Asturias, 

Guadalajara, Valle de 

Aran, Madrid and 

Salamanca 


FOCUS ON SOUTHERN EUROPE 

“Those two companies present perfect examples of how our business 

has been transformed by changing technologies and instantaneous 

communication. We have a long-established relationship 

making spots for Gucci, and their agency, REM, asked us to 

make a stills-based behind-the-scenes [BTS] record of one of 

their print campaigns by German photographers Mert and Marcus. 

The work has since become more complex, and we have 

ended up making a video version of the BTS that complements 

and relates to the print campaign. “And for Pirelli we were asked 

to make a corporate film that could also serve as advertising, 

and which reflects both the company’s five-year plan as well as 

how cool the brand is, and their range of tyres. It was shot from 

the point of view of the tyres across multiple terrains.” 

In Spain the local market is also “very quiet”, according to 

TF7-TV executive producer Ivo van Vollenhoven. “Local jobs are 

pretty scarce right now, and most of our work recently has been 

coming from the UK thanks to the run-up to the Olympic Games, 

plus we also have a steady stream of jobs from Harry Tracosas’s 

Global Production Network,” he says. 

“But our most challenging job in the last year was Nike’s 

Write The Future campaign, directed by Alejandro Gonzalez 

“TRYING TO GET WAYNE ROONEY, 

DIDIER DROGBA, FRANK RIBERY, 

RONALDINHO PLUS KOBE BRYANT AND 

ROGER FEDERER THERE AT THE SAME 

TIME WAS NEVER GOING TO BE EASY” 

Ivo van Vollenhoven, TF7-TV 

Iniarritu (21 Grams, Nine Lives, Beautiful). The production was 

based in Madrid because Ronaldo was a key part of the plot, but 

trying to get all the other players and actors like Wayne Rooney, 

Didier Drogba, Frank Ribery, Ronaldinho plus Kobe Bryant and 

Roger 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-schedule, 

and find an indoor arena that could be made to look like an 

outdoor football stadium in post-production. Eventually we ended-up 

shooting for 13 days instead of five, but the end result was 

spectacular 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 conman 

who impersonates adolescents who have disappeared. He 

ends up being adopted by a family who have killed the son they 

claim has gone missing. “There were a number of challenges 

including a small budget and only eight shooting days, but I’m 

proud of what we achieved.” 

Paula Mattei, international director for Spanish service 

company Puente Aereo, is based in Buenos Aires but has been 

charged with broadening the international business 

of a company that previously largely drew 

its business from Spanish agencies. 

“I’m selling the company’s directors all 

over the world alongside a colleague in the 

Barcelona office,” she says. “Puente Aereo was 

always well known for its directors, which includes 

people like Felix Fernandez de Castro. Felix was 

one of the original founders of the agency SCPF 

and is one of the most admired directors in Spain. 

He recently shot a beautiful spot for Iberdrola 

over five days in Asturias, Guadalajara, Valle de 

Aran, Madrid and Salamanca.” 

Other work from Puente Aereo currently 

on show includes a spot for Pepsodent by Sebastian 

Alfie. “It was shot in Argentina as well as in 

Jakarta and India,” Mattei says. “It’s particularly 

memorable for the scenes with the father and 

son who are constantly in the bathroom grooming 

themselves.” 

In Portugal, Margarida Adonis of Ready 

To Shoot reports steady business over the last 

year, mainly from the UK, US, Japan, Brazil and 

Spain. “We only do international shoots and in 

general we work with producers from pretty 

much everywhere in the world,” she says. “We 

recently worked on a huge worldwide campaign for an alcoholic 

beverage that I can’t name at the moment. But I can say that the 

campaign is huge and beautiful, and a bit crazy. We also have 

just shot a Latin American campaign for Rexona and one for the 

Meteor Travel Agency in Ireland.” 

But Ready To Shoot’s most complex job of recent months 

was three web films for Aston Martin. “We were working with 

Serious Films and only had three days to get the job done. That 

would have been a tight schedule anyway, but then Barack Obama 

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 done 

and, to top it all, our helicopter was shadowed constantly by the 

secret services who were also listening to our radio communications. 

This was not entirely surprising, as the films involved 

explosions and fake guns, but it was a truly surreal experience.” 

Other recent shoots include Renault Korea, Samsung Limousine, 

a VW spot, Movistar for Spain and a Tylenol spot with 

director David Cornell. 

Eduardo Palacios, of Valencia Spectrum, operates between 

Valencia and Miami. “I spend the Spanish winters over there, 

but I have to say that Valencia is extremely well equipped,” he 

says. “The Ciudad de la Luz has one of the biggest sound stages 

in Europe. Right now we are seeing a lot of business from the UK 

and more shoots from the US now that the dollar is getting stronger.” 

Palacios is currently involved in trying to put together a 

local association of advertising producers. “There are five members 

at the moment and the inspiration behind the idea is that 

this area has so much to offer, we think we can better publicise 

that with a group effort,” he says. “We have great local talent 

thanks to the fact that there have been waves of immigration 

from France, Romania and the UK. 

“There are all the facilities of Ciudad de la Luz and I can 

say with confidence that the technical offer here is every bit as 

good as Miami; the only difference is that there is more competition 

over there. There is also an excellent variety of architecture, 

to the point that we can easily do Paris and have even managed 

to get a low-rise Manhattan look for a couple of spots.”^

eprofiling 

the crisis 

when brussels starts sprouting new words, you know the 

global economy is in trouble. or do you? Ricardo Costa, 

editor-in-chief of expresso, ponders on what advertising can 

learn from political creativity 

IS THERE any connection between the economic 

crisis and creativity? nobody knows for sure, me 

included. but one thing i’m certain of: the recession in 

which portugal will spend the next few years will not 

diminish 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. and 

that’s a huge advantage for us over our competitors. creativity, 

efficiency, imagination and art do not depend on more or less 

money or more or less investment. 

does a growing market, eventually, facilitate talent? undoubtedly. 

but also some waste. and waste is a luxury that the portuguese 

cannot afford to have in the coming years. talent exists 

and will be exploited more effectively in coming times. 

even politicians have realised it. and when politicians find 

things quickly, everyone should stop and think why. even advertisers. 

european politics is a fantastic example of creativity. despite the 

fact that these days the european project is somehow unhealthy 

and the future seems bleak, this crisis proved that politicians are 

some of the best advertisers in the world. 

for years the word “restructuring” was banned in europe. sovereign 

debt restructuring, of course. the word was banned and 

the mechanism to do it as well. but as the problem was growing 

and restructuring gained momentum; the solution found was 

brilliant. 

last month, european politicians have started talking about 

debt reprofiling. reprofiling? yes. i bet that the reader had never 

heard of it before and the reason is simple. because reprofil- 

ACCESS 

ALL AREAS 

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

portugal 55 

reprofiling is a great idea. it 

avoids the forbidden word and 

invents a way to face the market 

with redoubled confidence 

ricardo costa 

ing did not exist in finance or politics. but now it exists and in 

practice means the same thing as restructuring. 

the word caused a huge buzz and confusion. reuters did 

a piece entirely dedicated to reprofiling. economic newspapers 

dedicated full pages and tons of articles to discussing the word. 

i like this example because reprofiling is a great idea. it avoids 

the forbidden word and invents a new way to face the market 

with redoubled confidence. it was a super rebranding of the 

debt crisis in europe. a great idea. 

but, as in everyday advertising campaigns, having a good 

idea or theme is not enough. you have to find a way to reach the 

consumer in order for them to buy your product or service. it’s 

the same with politics. if brussels eurocrats do create and sustain 

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!!^ 


56 


FILM COMMISSIONS 

Hello? 

We need a Thai 

floating market, 

and fast! 

To the uninformed, a film commission is there to 

issue filming permits where you turn up to shoot in 

another state or country. But these days they are 

proactive, attracting stills and commercials shoots 

to their regions, as well as movies — and they have 

a lot to offer on the creative side too. 

Debbie Lincoln reports 

F 

ILM Commissions can be a valuable resource 

for commercials producers. They are there to 

ease the pain of shooting, and can help with identifying 

locations, preparing and granting permits 

and even cast and crew. 

Las Vegas-based Charlie Geocaris, from the Nevada Film 

Office expects to see 40-50 commercials shoots each year in his 

region, representing about 15-20% of total location shooting in 

the area. 

“We specifically try to attract commercial productions 

through advertising and other target marketing,” Geocaris says. 

Popular locations for commercials include the famous strip in 

Las Vegas, as well as dry lake beds, the roads in the Valley of 

Fire and Red Rock Canyon, Lake Tahoe and Lamoille Canyon. 

“We see a variety of different types of commercials but automobile 

and truck commercials are the most popular,” he says. A 

recent example for which the film office provided location scouting 

and permitting assistance, was a spot for Dodge autos. 

The film commission in Saskatchewan, Canada, is also 

able to source a variety of open spaces for commercials shoots. 

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

f A floating market 

constructed in 

Indonesia for the 

Amsterdam-based 

Balsa Films’ shoot for 

client Conimex, 

directed by Othmar 

Freder Sweers, and 

produced by John 

Langeveld

57 


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

f 

Annabelle Aronis, 

executive producer, 

Avion Films: “Greece 

offers sound stages from 

1,200m2 to 200m2 with 

excellent set builders 

and support” 

FILM COMMISSIONS 59 

plate,” SaskFilm’s Tobi Lampard says. “The open prairie to the 

north, forests, the endless horizon is the calling card of 

Saskatchewan. The climate offers long sunny days in the summer 

and crystal clear skies over pristine snowy winter landscapes 

days. Over recent years ad agencies have achieved beautiful 

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 location 

that works for creatives, regularly emailing links to photos from 

its location library for quick review. The film office also boasts a 

film-friendly attitude in the sate. 

Indonesia also uses the variety and availability of its locations 

to lure commercials producers to the area. The Bali Film 

Center’s Deborah Gabinetti cites “the diverse range of locations, 

varied architecture, abundant crops (coffee, cocoa, coconut 

and tea plantations), unique flora and fauna, vast water-based 

areas and the number of different ethnic groups,” as her region’s 

main attractions. She also echoes Nevada’s Geocaris with her 

estimation that commercials represent some 20% of all international 

filming in the region, at around 20 per year. A recent 

shoot was for Netherlands-based Indonesian food brand Conimex. 

Balsa Films from Amsterdam ran the shoot for the spot 

with director Othmar Freder Sweers and producer John Langeveld. 

“Our office facilitated the national and provincial permits, 

local permissions, provided research, locations and casting 

services,” Gabinetti says, adding: “We also have an extremely 

gifted pool of craftspeople able to recreate almost anything.” 

The Conimex shoot called for locations to represent a contemporary 

Dutch kitchen and Balinese traditional market, and mimic 

a Thai floating market. 

According to Elliot Au from The Hong Kong Film Services 

Office (FSO), the city state was the first place in Asia to establish 

a film services office (FSO), opening in April 1998 to promote 

Hong Kong’s film industry. “The FSO provides one-stop 

services on location filming for film crews, including sourcing 

suitable locations, assisting in obtaining filming permits, securing 

location venues for filming, as well as regulating the use of 

pyrotechnic special effects materials, Au says, adding: “Since 

2009, the FSO came under Create Hong Kong, a dedicated agency 

to champion and drive the development of the creative economy 

in Hong Kong. 


n Fernando Uriegas, 

general director, 

Mexico Film 

Commission: “The 

reason that Mexico City 

is a perfect place to 

shoot is due to the 

richness and varieties 

of locations. You can 

find pre-Hispanic, 

colonial and modern 

buildings” 

The Hong Kong FSO also encourages visiting producers 

to hire the services of a local fixer for transportation, accommodation, 

and casting help. 

“We are very interested in attracting a lot more international 

advertising to Jordan, as it provides some amazing untapped 

landscapes,” Linda Mutawi, production services manager at 

The Royal Film Commission-Jordan (RFC), says, adding: “Jordan 

is well known for amazing hospitality and the skilled workforce 

is very efficient. Also, filming in Jordan is considered very 

cost effective, and has the added benefit and support that the 

Film Commission offers, such as access of free publice locations, 

assistance with scouting and securing locations, custom 

exemptions on equipment imports, no income taxes on foreign 

cast and crew, liaison officers, and help with government paperwork.” 

Mutawi estimates that 30% of shoots in Jordan are for 

commercials, between 20-30 per year. 

A recent shoot to take advantage of this help was for Indian 

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 rental 

of 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, but 

it already participates in several expos and markets to promote 

locations. “Our main incentive is a VAT exemption of 22%,” she 

says, along with diverse landscapes and eclectic architecture, 

including “colonial style, through Art Deco up to futurist structures 

such as Carrasco’s new International Airport”. The area 

sees a high percentage of commercials, 110 in 2010 in Montevideo 

alone. 

The Mexico City Film Commission is also relatively new, 

but within its two years of operation has established a presence 

at events in South and Central America, the US, and Spain. Fernando 

Uriegas, general director of the Mexico City Film Commission 

estimates that 27% of some 1,780 shoots in the city are 

commercials. “We promote Mexico City in both national and 

international ways. We have been assisting at several festivals 

to offer all the production services that you can find in Mexico 

City. We are also developing online tools where you will be able 

to find locations, production services, production companies 

and all the permit information,” Uriegas says. Recent produc- 


n Greece’s 

Green Olive Films 

serviced the 

Omega shoot with 

ASAP Production 

of Italy for agency 

Eye to Eye 

tions in the Federal District of Mexico City have been for Volkswagen, 

General Motors, Panasonic, and Trident — and most 

commercial shoots are for TV. The Commission gives guidance 

to crews, and also offers alternative suggestions when needed. 

“We also have all the contacts with public authorities and institutions 

to help them during their production.” 

Markos Holevas from Greece’s Hellenic Film Commission 

says that while his office doesn’t have a dedicated policy directed 

specifically at commercials producers, it can help with arranging 

shoots in Greece, and has been working with the Film Office 

of the City of Athens to facilitate shoots. Recent examples of 

successful shoots in Greece include TVCs for Infiniti, Samsung 

and Omega, by Green Olive Films. The company’s executive 

producer, Simos Manganis, says: “In recent years we estimate 

around 150 shooting days annually in high-end professional 

formats for commercials and TV; for commercials we anticipate 

70 shoot days per year.” 

The attraction of Greece for commercials producers is 

summed up by Athens Central Film Productions executive producer 

Andreas Tsilifonis: “Great weather with low precipitation; 

long daylight shooting days; convenient short flights from 

all European capitals; multi-ethnic casting options; experienced 

English-speaking crews; a wide variety of locations, including 

several sport stadiums from the recent Olympic Games; and 

last but not least, the lowest rates in Euro zone.” 


Annabelle Aronis, executive producer at Avion Films, says 

that in recent years, Greece has been attracting commercials 

that don’t only require clichéd Greek locations, like temples, 

white houses and beaches. “Greece is also attracting commercials 

that have other location requirements — for example contemporary 

interiors and exteriors, urban landscapes, roads for 

car commercials, and Northern European nature including lakes, 

rivers, mountains,” she says. “Not to mention shoots in studios 

with big set builds, as well as table-top productions with motion 

control and mock up construction.” 

Pierrette Baillot from the Brussels Film Office in Belgium 

says that her office strives to “create a frame to guide the commercial 

producers”, especially concerning the problems of shooting 

in busy cities where timing is an important factor, specifically 

where permits are concerned. She also stresses that “harmony 

within local neighbourhoods” is important to ensure that the 

city remains film-friendly. 

For a recent shoot for a TV commercial for food brand 

Nutella, the Brussels Film Office negotiated with police authorities, 

in their offices, to arrange closing streets and reserving 

space for parking. 

These negotiation skills, sensitive to a local area, are powerful 

components in the toolbox of film commissions around 

the world, and Baillot identifies another attractive offer: “Our 

office’s services are free of charges.” Slam-dunk.^ 


IT IS not hard to see why ad agencies and commercials 

producers 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 talented, 

hard-working, cost-effective and multilingual production 

crews. Compared with western Europe, shooting is at 

least 30% cheaper, and sometimes as much as 40-50%. 

Of course, all this begs the question where to shoot. If you 

include Russia and Ukraine, there are about 21 countries competing 

for work — many of which are able to put forward a 

strong 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 minimal 

bureaucracy are givens in both markets. Add to this the fact 

that many global ad agencies have their regional HQs in Prague 

or 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 is 

actually west of Austrian capital Vienna, which makes it a per- 

FOCUS ON CENTRAL & EASTERN EUROPE 65 

Go east, pay least 

Prices have risen in the Czech Republic and Hungary, competition from 

neighbouring countries has intensified. But Central and Eastern Europe is 

still the location for low-cost, well-supported shoots. Andy Fry reports 

n Wroclaw in 

Poland, an 

important centre 

for production 

that has doubled 

for 19th century 

Amsterdam 

fect staging post for agencies and brands with ambitions in the 

east. No surprise, then, to find Publicis, Omnicom and WPP all 

active, alongside regional agency players such as Kaspen/Jung 

von Matt. 

Typical of the production talent pool in the Czech Republic 

is Zoom Films, whose portfolio includes work for international 

brands such as Samsung, Hyundai, Bavaria, Kraft Chocolate 

and Haagen Dazs. No less significant are campaigns for 

brands closer to home, such as the 2011 shoot for Czech bottled 

water brand Aquila Aqualinea (a campaign managed by 

Arnold Worldwide). 

Of course, Prague is known enough that campaigns don’t 

have to be orchestrated from within Europe. A classic example 

is a recent Prague shoot for the LG Optimus One. Here was a 

Korean brand, managed by a China-based agency (BBH Shanghai), 

using a US director (Backyard’s Rob Pritts) to shoot five 

comic spots (Instant Expert) for the international market. 

That’s a pretty good endorsement of the city’s capabilities. 

And there’s one bonus for directors like Pritts, which is that 

the city is far more film-friendly than Backyard’s hometown, 


66 

n Superdog spot 

from the Pannon 

GSM campaign in 

Hungary 


FOCUS ON CENTRAL & EASTERN EUROPE 

Los Angeles. “These spots would not have been possible in LA 

unless we were working on a back lot,” Pritts says. “The city is 

so film-friendly — if cars are parked on the streets, they move 

them with an enormous machine, then put them back on their 

original positions when we’re done, without towing or ticketing 

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) and 

O&M (WPP). Operating in parallel are production companies 

such as Extreme Film, set up by producer Dalma Hidasi in 1994 

and now working for local and international brands. Among 

the latter, Extreme can count Danone, SABMiller, Bacardi, Michelin 

and Nestle. Echoing the situation at Zoom Films, there are 

also heavyweight TV campaigns for local brands such as mobile 

operator Pannon GSM. 

David Ungvari, producer/director at Budapest-based BPPS, 

says: “Hungary has great crews, awesome locations, low wages 

and a favourable tax system [for films]. At BPPS, we can offer 

full production services, meaning everything from location 

scouting through to world-class post-production. ” 

Like the Czech Republic, Hungary also boasts a stunning 

capital. “Budapest is a city with many faces. From one angle it 

can look like Paris, from another London or Berlin. It is probably 

the most eclectic city in Europe. A modern glass office block 

can be situated by a 100-year-old near-ruin and a ’60s building.” 

While there’s not much between the Czech Republic and 

Hungary, the latter is probably the better developed, with more 

production companies on the ground and a slightly superior 

infrastructure. This is most evident in terms of studios, Ungvari 

says: “The constant rivalry between Prague and Budapest has 

resulted in immense investments in Hungary, to regain its market-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 sound 

stage 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 from 

them? Generally there are two arguments. Firsty, that Czech 

and Hungarian locations have been over-used and fresh (but 

similar) images can be found further afield, Second, both markets 

have become expensive in recent years. Elsewhere you can 

get a 20-40% cost reduction. 

One location proving increasingly popular for international 

shoots is Serbia. Back on track after the Balkan conflict, 

the country is open for business in a big way, says Milos Djukelic, 

of Red Production. With offices in Serbia, Montenegro and 

Croatia, Red has provided production services for more than 

400 commercials over the last seven years for clients such as 

Henkel, T-Mobile, Interbrew, Unilever, P&G, Societe Generale, 

Siemens, Tefal and Pepsi. 

Equally passionate about what Serbia has to offer is Bozidar 

Djokic, of Belgrade-based Emote Productions, a company 

that works across feature films and commercials. What are the 

benefits? “Serbia is 30% cheaper than territories such as Hungary, 

Czech Republic, Romania, Bulgaria, Slovenia, Croatia and 

Greece, while providing a high-quality infrastructure, workflow, 

facilities and locations,” Djokic says. “Serbia has outstanding 

talent in photography, set design, costume, make-up, thanks 

to having one of the strongest film industries in south-eastern 

Europe. 

“Our crew and talent have worked on films with Ridley 

Scott and Luc Besson. At Emote, we produce quality commercials 

for domestic and international clients. Our MTV spots 

last year won the David award for Best TV Commercial within 

Ogilvy’s European branches. This year we have spots competing 

at the YDA and Fireflies competition in Cannes.”

In addition to low production cost and great crews, djokic 

talks up the locations: “we shoot in montenegro, the mountains, 

the seaside, everywhere. the good thing is that all of 

the locations are very easy to reach from belgrade. serbia is 

an unbelievably film-friendly community; licences, helicopters, 

closing down of streets, squares, tunnels, getting planes, 

it’s easily attainable.” 

one person well placed to judge the competing claims of 

locations is laurent grousset, a senior consultant with bird 

bonette stauderman. grousset, an expert on production practices 

and cost management, has not yet visited serbia, but he 

has been working in other former yugoslavian territories such 

as slovenia and croatia. “the first thing you always think about 

is the story, but after that it’s the cost and the quality of the 

crews. for me, slovenia and croatia have both been good locations.” 

other markets grousset has visited in the last couple of 

years include romania, bulgaria and ukraine. the last is particularly 

interesting, because it has in recent years started emerging 

from the shadow of the old soviet union. today it is home 

to a handful of top-notch production companies including psbfilms, 

a 10-year veteran which has produced domestic and 

international spots for the likes of p&g, samsung, pepsi, stella 

artois, kraft foods, unilever, danone and toyota. 

based in kiev and odessa, just two hours from any west 

european city, psb offers production service in english, german, 

french and hebrew. 

arthur fleshtor, at another leading ukrainian commercials 

producer, gulliver, expands on the market’s appeal: “foreign 

companies like to work with us because of the balance 

between quality and price. at gulliver, we have the equipment 

base to suit any demands. we also have many local directors, 

dops and good post-production, all of which makes ukraine 

attractive.” 

67 

“If cars are parked on the streets, 

they move them wIth an enormous 

machIne, then put them back on 

theIr orIgInal posItIons” 

rob pritts, backyard 

In addition, fleshtor believes that ukraine has an advantage 

in locations. “our territory is quite large, so it goes across 

different climate regions. we have the carpathian mountains, 

the black sea, beautiful cities and nature. all of these elements 

mean that you can find any solution for any shoot.” 

among other former soviet satellites attracting attention 

is latvia. emerge film solutions, a commercials production 

consultancy, is positive about the baltic state, calling it “a filmfriendly 

country where permits take usually no more than a 

week”. 

with a variety of rural and urban locations on offer, latvia, 

emerge says, is a head-turning 40% cheaper than the czech 

republic. In terms of locations, part of latvia’s appeal is capital 

riga’s historic city centre, which can double as paris or vienna. 

like ukraine, it can also offer stark soviet-style architecture. 

not to be overlooked, either, is the remote beauty of its 

countryside. 

In 2009, when creative agency nitro and producer academy 

films wanted a scottish location for a drambuie spot, they 

chose latvia because of its low costs and good production values. 

with the help of local service company baltic pine films, 

the ad was shot near kishezers, a major lake on the outskirts of 

capital riga. 

other companies operating out of riga include film angels, 


whose current showreel includes automotive brand skoda. 

then there is russia itself. While the country is geographically 

out on a limb, there’s no question that it is becoming a 

force 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 domestic 

economy, which is proving a big attraction to brands and 

agencies, most of which have offices in moscow. it’s no accident, 

for example, that russia will be represented by 295 works 

in Cannes this year. or that a leading agency such as 

BBdo/moscow is making as many as 200 commercials a year. 

in terms of production talent, russia can boast companies 

including Just production (clients include american express 

and siemens), park production, (Coca-Cola, heineken, lG, 

mars, etc) and Bazelevs, which has recently produced spots 

for nissan tilda, nike air max (featuring andrey arshavin) 

and kit kat. the latter ad, directed by Cannes lions gold winner 

Joachim nielsen on his fourth visit to russia, demonstrated 

the can-do attitude of russian crews. 

it was shot in front of the hotel ukraina at the height of 

moscow summer heat, and nielsen insisted on a stunt which 

saw the central actor dropped from height into an armchair - 

something lesser mortals might have achieved using computer 

graphics. 

for Bazelevs’ iva stromilova, executive producer in 

charge of movies and commercials, there is no doubting the 

calibre or enthusiasm of the local talent. But for her, shooting 

in russia offers more: “here in moscow you have everything 

a civilised production should have. But on top of that 

you get to shoot in the most picturesque locations, meet the 

most beautiful russian women, and go to fun night clubs 

and great restaurants!” 

of course, it’s important to stress that the Czechs and 

hungarians haven’t been sitting back complacently while new 

markets promote their cause. Zoom, for example, now offers a 

choice of locations in the Czech republic, slovakia and Croatia. 

not only does this widen the range on offer, it also allows it 

to offer lower price-points. in hungary, meanwhile, companies 

such as Bpps are trying to reassert the cost-effectiveness of 

shooting in that country. “hungary is still an inexpensive place 

to 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 have 

more jobs than a quick profit.” 

if there’s a challenge for the whole of the Central and 

eastern european region, it’s that production companies in 

other parts of the world have also been getting cheaper as a 

result of the economic downturn. Grousset says he has been 

going to eastern europe less in the last year “because producers 

in markets like spain and france are willing to negotiate 

foCus on Central & eastern europe 69 

“We have the Carpathian 

mountains, the BlaCk sea, 

Beautiful Cities and nature ... 

You Can find anY solution 

for anY shoot” 

arthur fleshtor 

lower prices than they used to. that comes at the same time as 

many advertisers are looking to use more local people in their 

ads and shoot one campaign for a number of territories. so it is 

a challenging business right now.” 

poland should be talked about more in the context of 

commercials production. after all, it is home to a vibrant agency 

and production base. local production houses include tandem 

taren-to, easy hell, film Works, film it and lodz-based 

opus (which reckons to shoot 60 international and local ads a 

year). there are also post-production houses including the 

Chimney 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 profile 

is that it took a long time to shake off the grim image that stuck 

after the collapse of the soviet union. even now, Warsaw lags 

behind prague and Budapest as a desirable destination. 

that said, those in the know — such as emerge films 

solutions — talk up poland’s appeal as a rural and an urban 

location: “there are three main cities of filming interest. Warsaw, 

a modern city with a full variety of easily accessible urban 

and suburban looks; krakow, probably the most charming and 

picturesque city in poland; and Wroclaw, an important centre 

for production that has doubled for 19th century amsterdam.” 

there are reasons to be optimistic about the country’s 

prospects when it comes to commercials production. first, it is 

a much bigger market than the Czech republic or hungary 

(38 million vs 10 million each respectively), which means there 

will always be a need for domestic ad production, even if servicing 

work is not strong.second, it is about to co-host uefa’s 

euro 2012 with ukraine, an event that will provide a massive 

stimulus to the local economy during the coming decade, and 

presumably see a rush of commercials linking big brands to 

the event. marcin herra, who is in charge of the polish half of 

the competition, is expecting one million extra visitors to come 

to poland and spend €200m during the event. longer term, 

herra reckons the positive impact for the economy over the 

next eight years will be €1.5bn-€2bn. in addition, herra believes 

it “gives us a chance to speed up development and modernisation 

of the country. it is also a chance to improve our brand - 

the image of the country.” ^ 


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07.02 

07.03 07.01 


Briefing Room 

Microsoft Advertising Cyber Lounge 

YouTube 

Cannes Lions 

Merchandise Store 



LEVEL 0 

Workshop Room 

Press Centre 

Cannes Creative 

Leaders 

Programme 

Main Entrance

PROJECTION TIMETABLE 

FRIDAY 24TH JUNE 2011 

GRAND AUDI / 09:00 - 20.00 

9:00 - 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 - 20.00 

9:00 - 9:45 Categories A21 - A23 


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 


18:25 - 19:55 Category B01 

ESTEREL/ 09:00 - 20.00 

9:00 - 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 


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 

SATURDAY 25th JUNE 2011 

AUDI A / 09:00 - 16.00 

9:00 - 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 


13:10 - 14:40 Category B01 

14:40 - 16:00 Category B02 

ESTEREL/ 09:00 - 16.00 

9:00 - 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 



SCREENINGS 

Friday 24 June 

Grand Audi 09:00 - 20:00 

Estérel 09:00 - 20:00 

Audi A 09:00 - 20:00 

Saturday 25 June 

Estérel 09:00 - 16:00 

Audi A 09:00 - 16.00 

FILM CRAFT, 

TITANIUM AND 

INTEGRATED 

SHORTLIST 

SCREENING 

Friday 24 June 

Audi K 09:00 - 20:00 

Saturday 25 June 

Audi K 09:00 - 16:00 

Please 

note that the 

fi lm shortlist will 

also be showing 

in the screening 

lounge area

We can take your work 

just about anywhere. 

©2011 DG FastChannel, Inc. 

Even Cannes 2012 

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www.DGit.com

www.lionsdailynews.com friday, june 24 , 2011

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