TV or not TV? That is the question.
Several years ago that query would have been totally out of place when it came to awarding the Film Grand Prix at the Cannes Lions International Advertising Festival. To have that marquee honor bestowed upon anything but a TV commercial would have been regarded as unthinkable and downright nonsensical.
But that proposition has gone from unthinkable to feasible to a reality as reflected in the evolution of the competition over the past three years, culminating with “Carousel,” digital fare designed to promote the cinematic experience offered by Philips Cinema 21:9, a movie-theater proportioned TV set, with creative out of Tribal DDB, Amsterdam.
Directed by Adam Berg of Stink, London, and edited by Paul Hardcastle of Trim, London, “Carousel” winning the Grand Prix underscores that great ideas come in all shapes, forms and media, meaning that even the Film Grand Prix is no longer an honor reserved for television.
Indeed that reservation has been diluted dating back notably to the 2007 Cannes Ad Fest when the Film Grand Prix went to Dove’s aptly named “Evolution” from Ogilvy & Mather, Toronto. “Evolution” was first and foremost a viral film but was eligible for the film category due to minimal TV exposure.
Then last year, Cannes divvied up the Grand Prix between two honorees: Cadbury’s “Gorilla” TV commercial (which actually benefited greatly from the viral YouTube dynamic) via Fallon London, and Microsoft’s “Halo 3 Believe” campaign which spanned several spots and longer form web content from McCann Worldgroup and sister shop T.A.G., both in San Francisco.
Now in ’09, “Carousel” takes Cannes’ progression a significant step further. Through one seamless tracking shot that can be used to reveal films within a film, “Carousel” positions the Philips Cinema 21:9 as changing the way cinema is viewed at home. By winning the Grand Prix, “Carousel” places a punctuation mark on how Cannes jurors view the Film competition, making varied forms, disciplines and media fair game for the major honor.
Agent for change Speaking of change, the Obama/Biden presidential campaign earned both the Titanium and Integrated Grand Prix. Simply put the Obama campaign changed political advertising forever. In fact, the brand Obama was selling and became synonymous with was and is “change” and given the disarray of the world, most significantly an economic crisis, people were clamoring to buy into the brand, their purchase consummated on Nov. 4 with the election of Sen Barack Obama (D-IL) to President of the United States.
Indeed President Obama’s team–the Grand Prix honors being bestowed upon campaign manager David Plouffe and agency GMMB, Washington, D.C., and Los Angeles—turned out an historic effort. Becoming the first African-American to rise to Commander and Chief of the U.S., Obama did so by staying on message, fundraising at unprecedented levels via the Internet and by going more after small individual contributions rather than big-ticket donors.
He put a grass-roots organization in place that campaigned in neighborhoods throughout the nation and that helped to drum up the vote, getting the young adult demographic and those who previously felt disenfranchised to turn out to the polls on his behalf, and assembling an email/web social community of supporters that made them feel even more a part of the political process. This forward-thinking inclusion proved pivotal in his successful push for the White House.
Arguably a greater upset than winning the election over Sen. John McCain (R-AZ) was Obama gaining the Democratic Party’s nomination over Sen. Hillary Clinton (D-N.Y.) who appeared too formidable, if not unbeatable when the drive for the White House got underway in 2006.
Yet ultimately more people felt Obama was the real agent for much needed change as compared to Sen. Clinton who had the baggage of being part of the political establishment. (However that establishment experience has its virtues as Sen. Clinton was chosen by Obama to be Secretary of State in his administration.)
Obama’s election campaign not only changed how politicians will market themselves to seek office but also plays a part in ongoing public policy matters. Now that Obama takes on the daunting task of righting a country facing economic and environmental crises and engaged in two wars overseas, he at least has a direct marketing dream dynamic on his side–a database of some 3 million people whom he kept apprised during the election via emails and/or text messages.
And he figures to continue to be in touch with that database for further support whether it’s to promote Democratic Party candidates for office or outreach efforts to get citizens to lobby their local elected officials, urging them to muster support for a critical piece of legislation.
Plus the beauty of the social network is that it’s a two-way street as President Obama can get a read on the issues that are of most concern to his constituency, sparking an electronic dialogue of sorts to keep his finger on the pulse of the country.
Indeed welcome to 21st century politics, campaigning and civics.
Gold, Titanium Lions
Also relevant to the body politic, among the Film Gold Lions was a two-spot MTV campaign designed to drum up the vote as the Chose or Lose Voting Awareness campaign TV ads “Airport” and “Phone,” copped a Gold Lion in the Public Awareness Messages category. The spots were directed by Bryan Buckley of bicoastal/international Hungry Man for JWT New York.
Also scoring for the U.S. with a Film Gold Lion in the Other Screens category was director Peter Nydrle of Los Angeles production house NYDRLE, who directed Chambers Hotel’s “Chambers Video Art Piece” for agency Barrie D’Rozario Murphy, Minneapolis. “Video Art Piece” was shown in hotel bars as a means of generating interest, buzz and customers.
The Titanium Lion honorees took a decisively U.S. bent. Scoring honors were Crispin, Porter + Bogusky for Burger King’s “Whopper Sacrifice,” Bartle Bogle Hegarty, New York for “Dig Out Your Soul In The Street” on behalf of Oasis and NYC & Co., and Droga5, New York, for the Jewish Council for Education and Research’s tongue-in-cheek “The Great Schlep” starring Sarah Silverman as she makes the case for Jews to connect with their elder relatives in Florida to help swing the election for Obama. The latter was produced by Oil Factory, Los Angeles, and directed by Wayne McClammy (who has since joined Hungry Man).
Palme d’Or Taking the top production house honor at Cannes, the coveted Palme d’Or, was Phenomena, Thailand, based on its festival performance.
Finishing second was bicoastal Smuggler, followed by bicoastal Hungry Man at third.
Two houses, Academy Films, London, and bicoastal O Positive, finished in a tie for fourth.
Next was a three-way tie for sixth among the U.S. operation of MJZ, and the U.K. operation of Partizan, and Rattling Stick, London.
Rounding out the top 10 was Landia, Buenos Aires.
Agency tallies Based on performance in Press, Outdoor, Film and Radio Lions, the agency of the year at Cannes was DDB Brazil in Sao Paulo. Next was AlmapBBDO, Sao Paulo, with DDB & Co., Istanbul, finishing third.
The interactive agency of the year was Goodby, Silverstein & Partners, San Francisco, followed by Crispin Porter + Bogusky, Miami and Boulder, Colo., and Belgian agency Boondoggle.
And the agency network of the year honor (based on performance in Film, Outdoor, Radio, Media, Cyber, Titanium and Integrated) went to BBDO. Next was DDB placing second, followed by Leo Burnett at third, Ogilvy & Mather in the number four slot, and TBWA finishing fifth.
For a full rundown of Gold, Silver and Bronze Lions, and other special awards, log onto www.canneslions.com.
