Samsung Maestros Academy – The Future of Made in Italy with Samsung and Leo Burnett

Italian craftsmanship has long been considered a renowned art form. Now, in a time when younger generations are gravitating to smartphones rather than toolboxes, expertise is only reminiscent of a bygone era. With the help of Leo Burnett Milan, Samsung created the first-ever digital conservatory called Maestros Academy to foster the next generation of Italian artisans in order to preserve “Made In Italy” excellences. 

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To bring to life the Samsung strategic role of “enabler” in people’s life, we looked at the current social situation in Italy: the disappearance of great handcrafting excellences which once brought Italy to greatness. At the same time, unemployment rate among young people is dramatically growing and younger generations are yearning for new opportunities to discover and express their potential and talent. Our idea aims to deal with this Italian paradox, reconnecting two generations, preserving the future of “Made in Italy” and fostering a new generation of Italian artisans. We want to demonstrate the great results that people and technology can achieve together.

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For this reason we created Samsung Maestros Academy: the first digital and integrated platform where young talents can learn the secrets of “Made in Italy” masters, through every kind of smart-device, inspiring the youngest to preserve and innovate the greatest Italian heritage.

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The idea of Samsung Maestros Academy was spread on digital channels (FB, Italian newspapers’ and lifestyle magazines websites, Confartigianato’s channels, LinkedIn, Twitter) to join the primary target of the initiative, digital natives, and drive them to the main platform, accessible from every consumer’s electronic device, such as smartphone, tablets, laptops and Smart-TV. The engagement platform consist in more than 40 video-lessons, full of invaluable ancient secrets, in-depth materials and live-interactive lessons, featured even on outdoor and digital-billboards in the major Italian squares, such as Duomo Square in Milan. A technology-enabled connection between two generations, that inspired Discovery Italia channels to produce a 12 episodes TV-series, telling our students’ best success, spread even thanks to Online and mobile TV channels platforms (Realtime.it, DMax.it, Discovery Italia digital platform). The project gained spontaneous echo on national newspapers, magazine and Tv-programs (Piazza Pulita) generating conversation even in the major Italian University.

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Samsung Maestros Academy generated a great conversation on newspapers, social media and TV-programs, with more than 6 million TV-viewers, 1 million Youtube-views in few days, 4.5 million FB-users reached and 30 million media impressions -in Italy alone- becoming a big topic even in universities including “Università commerciale Luigi Bocconi”, “Università Cattolica del Sacro Cuore” in Milan, IED, “Università degli studi di Roma Tor Vergata” and even by Fashion Institute of Technology in New York.Thanks to an extensive network of touchpoints people learnt ancient crafts through every smart-device,empowering consumer-awareness on product-features and brand reputation.

During interactive-lessons, users asked very specific questions, proving a remarkable high user-engagement. Almost the 50% of live-lessons participants asked the Maestros to become an apprentice, exceeding the available positions by 300% on average. Maestros’ students produced with great success innovative design-items, inspiring even more young talents to preserve and innovate the greatest Italian heritage. After Maestro Pelizzoli’s course, Alice created a truly innovative bike, showcased with great success during the Milan Design Week event. Marina together with Maestro Siniscalchi tailored a shirt, featured on an important Italian newspaper, triggering even the curiosity of GQ. Anna and Valerio crafted a bag, immediately displayed by the prestigious “Flow” shop in Florence.The results achieved by many other students generated over 30 million media-impressions and reaching 4.5 million FB-users, on Italian market alone.

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After few months, a student with her Maestro created Samsung Smart-Bike, the first safe-bicycle that protects the rider with its built-in smart-components, automatically activated through a Samsung smartphone. A responsive “safety-environment” that detects ambient-conditions and protects the driver in real-time. A concrete solution for the problem of bikes being the most “unsafe” way of moving in Italy and a real help to break the young people’s barrier with using appropriate safety-equipment.

The idea was to control a fixed-bike and its built-in smart components with a Samsung smartphone and a dedicated app, allowing the automatic control of four laser-beams, a safety-camera a GPS-tracking system, offering innovative safety-features. The first engineered bike and its paired app were presented to one of the greatest design fairs in the world: the Milan Design Week, with the endorsement of EXPO2015 representative of Urban Mobility capturing the interest of important journalists. Alice’s idea has been taken under consideration for applications according to EXPO scenarios, after being recognized as a big step-forward for urban-safety and sustainability.

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Advertising Agency: Leo Burnett Italy

Executive Creative Directors: Francesco Bozza, Alessandro Antonini

Creative Director: Christopher Jones, Anna Meneguzzo, Cristiano Tonnarelli

Digital Creative Director: Paolo Boccardi

Copywriter: Alice Jasmine Crippa

Art Director: Alessia Casini, Gianluca Ignazzi

Creative Team: Cristina Bissanti, Felipe Iglesias, Alberto Lot, Lia Paganini

Project Manager: Andrea Castiglioni, Francesco Loprete

Producer: Riccardo Biancorosso, Gaia Fusaro

Art Buyer: Giada Cioffi

PR Coordinator: Maria Teresa Genovese

Managing Director: Niccolo Arletti

Brand Leader: Elena Korzhenevich

Account Supervisor: Luca Ruspini

Account Manager: Federica Giacomotti

Technical Director: Gianluca Mori

Production House: Magnolia


Leo Burnett Italy for WWF: Pets4Pets Project – Advertising thought by kids to get adults thinking

What about asking youngsters, instead of experienced creative directors, to create the strongest communication campaigns?

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Pets4Pets Project  taught little kids the secrets of the advertising industry; inviting them to imagine new social campaigns to help protect the animals they love the most. WWF, together with a team of creatives, photographers, illustrators, film directors, animators, post-producers and speakers helped students at an elementary school experience the whole creative process: from the brief, to the Pre Production Meeting, to the shooting, to going on-air. The result? Well see for yourself in the case video.

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The adventure starts in the classroom, then moves inside the creative agency and finally arrives on a production set. For all the experienced creatives there’s just one strict rule: “never ‘contaminate’ the kids’ ideas”, just offer them the production advice they lack. First Challenge: a print campaign.

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Second Challenge: a TV commercial.

The results

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“From the first sketch on a piece of paper, to 2 TV commercials, 4 radio announcements and 8 print campaigns, ready to go on-air”. For every creative piece, you can see the “before” and “after”: from the kids’ original sketches to the final executions ready to go on-air. One thing is immediately evident: the kids’ work is already 100% creatively effective.
The team of professionals just helped them “translate” their ideas into a language that adults can understand.

Advertising Agency: Leo Burnett Italy
Executive Creative Director: Francesco Bozza
Associate Creative Director: Andrea Marzagalli
Creative Team: Andrea Stanich, Sergio Spaccavento, Paolo Boccardi, Alice Crippa, Serena Micieli, Silvia Savoia
Executive Producer: Debora Magnavacca
Year: 2013


15 Most Insightful Call for Entries Ads

1 – ADC-UA Awards (Ukraine)/Agency: Leo Burnett Ukraine

2 – The 2002 Marketing Awards/Agency: Taxi Canadamarketing-awards-hack-small-18780

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3 – Art Director’s Club CdF 2006/Photographer Vincent Dixon

4 – The Art Directors Club CfE 2002/Bozell New York

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5 – The Singapore Creative Circle Awards 1997/Leo Burnett Singapore

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6 – Creative Club of Belgium (Call for entry 2005)/Agency: Duval Guilarme, Brussels

7 – The KBP Radio Awards, C.f.E 2007/Agency: BBDO Guerrera Ortega, Philippines

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8 – The Art Director’s Club CdF 2009/Agency: Publicis New York

9 – Clio Awards 2004/Agency: ALMAP/BBDO

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10 – The Art Director’s Club Cdf 2011/Agency: DDB New York

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11 – Crèa Awards 2007/Agency: BOS, Canada

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12 – The One Club Call for Entries 2007/Agency: Jupiter Drawing Room, South Africa

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13 – AdAwards Call for Entries 2006/Agency: Saatchi & Saatchi, Paris

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14 – ADC 92° Annual Awards/Agency: The Conquistadors Collective, New York

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15 – The Tinta Awards Call for Entries 2012/Agency: Young & Rubicam Philippines

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Leo Burnett for Think!/Road Safety Campaign – Man Trapped in Pint Glass

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Agency Leo Burnett did some research and found that anti-drink-driving advertising based around crashing and injury was no longer likely to effect the target demographic of young male drivers who don’t believe that driving after drinking a couple of beers is dangerous. The agency found that low-consumption male drink-drivers were more likely to be deterred by personal consequences of a drink-driving conviction.

The idea of this campaign was to play against the seasonal jollity of the Christmas period and to dramatize the experience of isolation, regret and stigmatization brought about by a drink-driving conviction. In December 2007 a real-life convicted drink-driver agreed to be placed inside a specially constructed upturned pint glass. He was thus trapped by his seemingly innocuous decision to get behind the wheel after having one pint too many. The subject was interviewed by national press and broadcast media in Paddington Station as he explained how being convicted of a drink-driving offence had ruined his life: he had lost his job, his girlfriend, his car and a lot of money. An actor then took over the role of the drink-driver up and down the country at locations specially chosen for their proximity to public car parks and areas with a high concentration of pubs and bars (particulary those used by football fans).

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The campaign is thought to have contributed to a drop of 20% in breath test failures during the pre-Christmas period of 2007.

Advertising Agency: Leo Burnett London
Creative Directors: Tony Malcom, Guy Moore
Creatives: Phillip Deacon, Bertie Scrase
Year: 2007


Why is it called “LION” if the ones who always win are “BEARS”?

Budget Car Rental – RANGER

The Budget marketing team considers promoting the Ford Ranger by letting a customer become a forest ranger. Cut to a man dressed as a Ranger in the woods. A bear vomits all over him … The marketing team rejects the idea
Advertising Agency: Cliff, Freeman and Partners, USA
Year: 2000
Gold Lion for the campaign

John West – BEAR

At a river, a man fights a bear for a salmon. Voiceover: John West endure the worst to bring you the best. Super: John West Red Salmon.

Advertising Agency: Leo Burnett, USA
Year: 2001
Gold Lion

Miller Lite Beer – BEAR

In this spot we witness a bear’s candid audition to become the next voice and face of Miller Lite. The audition is taken from that of a real actor.

Advertising Agency: Y&R Chicago
Year: 2006
Bronze Lion for the campaign

Duende Azul (Costume Shop) – BEAR

Advertising Agency: Ogilvy & Mother Santiago
Year: 2007
Gold Lion for the campaign

Alka Seltzer – BEAR

Advertising Agency: CLM BBDO, France
Year: 2009
Gold Lion for the campaign

BIC/Tipp-Ex – A HUNTER SHOOTS A BEAR

To celebrate the back to school period, Tipp-Ex®, BIC Europe Group’s brand, leader on the European market of correcting products, goes on Youtube with an interactive campaign as funny as surprising. In this viral video, french agency Buzzman puts face to face a bear and a hunter, offering the viewers to choose what ending they want to see by changing the title of the vidéo directly on Youtube thanks to the Tipp-ex corrector! More than 50 different hilarious endings can thus be discovered. The campaign is logically signed: Tipp-Ex®, white and rewrite.


Describe the brief from the client: to coincide with the back-to-school period, Tipp-ex, an European correction fluid company, wants to promote online its whiteout Pocket Mouse. The target is pupils, students and customers of Tipp-ex.
The strategy was to turn an ordinary product into a unique and ground-breaking interactive experience on YouTube. Our strategy was to create a specific relation between this target and the brand, and thus virally spread the Tippexperience.

Describe how the promotion developed from concept to implementation: an interactive YouTube rich media campaign. It starts with a video on YouTube featuring a hunter out in the woods and suddenly facing a bear. At the end of the video the viewer decides whether the hunter should shoot the bear or not. Whatever the choice is, the hunter grabs the Tipp-Ex Pocket Mouse from the banner next to the video, whites out the word « shoots » and invites viewers to choose the end of the story by writing their own verbs directly in the title of the video. For each action, there’s a video response.

Explain why the method of promotion was most relevant to the product or service: the interactive campaign drew viewers into a choose-your-own-story-style video journey. The effort broke down the boundaries of YouTube for the first time, utilising the whole screen to exemplify the use of its whiteout product. 42 alternative scenes were shot so anything you write gets a video response. The possibilities are infinite. With the signature « White and Rewrite », the video on YouTube and the interaction, the campaign is very appropriate to the brand and to the target.

Advertising Agency: Buzzman, France
Year: 2011
4 Silver Lion (Media, Promo and Direct)
Bronze Lion for Interactive Film

BUND/Environmental Awareness – BROWN BEAR

Advertising Agency: Scholz & Friends, Berlin
Year: 2011
Gold Lion for the campaign

BIC/Tipp-Ex – Hunter and Bear’s 2012 Birthday Party

It’s a sequel to the  2010 Shoot the Bear Youtube Campaign. Partying away at the Bear’s birthday bash in 2012, the Hunter and his furry friend are faced with an earth-destroying meteor in the sky above them. You can choose to end the party or keep it going by picking a year for the two to travel to, whiting out 2012 and entering the year of your choice. The campaign includes 46 different scenes, eight of which are interactive.

Advertising Agency: Buzzman, France
Year: 2012
Lion?

Canal + – The Bear


Advertising Agency: BETC EURO RSCG, Paris
Year: 2012
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Cannes Alternative Grand Prix (2001/2011)

Grand Prix 2001 – FOX Regional Sports (Turkey/China/Russia/India)

A Turkish sports reporter is at a cliff-diving tournament. A diver jumps off a steep cliff, goes into a ‘swan dive’ and lands on dirt. Turkish peasants clap politely. Super: Sports news from the only region you care about. Yours. Fox Sports Net.

A Chinese sports reporter is showing highlights of a ‘tree catching’ competition. We see two lumberjacks chop down a giant 200-ft tree for an athlete to catch. He is not successful. Super: Sports news from the only region you care about. Yours. Fox Sports Net.

A Russian sports reporter is covering a ‘slapping contest’ in a smokey, seedy bunker. Two large men take turns slapping each other in the face. Suddenly, an impressive slap causes the drunken crowd to erupt. Super: Sports news from the only region you care about. Yours. Fox Sports Net.

The host of a Mumbai sports show is interviewing the National Clubbing Champion. Two blindfolded men chase each other with clubs in front of a large crowd. They swing wildly at each other … but miss. Then one loses his bearings and starts pounding a gentleman in the crowd. Super: Sports news from the only region you care about. Yours. Fox Sports Net.

Advertising Agency: Cliff Freeman and Partners, USA
Creative Director: Eric Silver
Copywriter: Dan Morales
Art Director: Rossana Bardales
Production Company: Partizan NY
Director: Traktor

Alternative Grand Prix – John West (Bear)

At a river, a man fights a bear for a salmon. Voiceover: John West endure the worst to bring you the best. Super: John West Red Salmon.

Advertising Agency: Leo Burnett UK
Creative Director: Mark Tutssel
Copywriter: Paul Silburn
Art Director: Paul Silburn
Production Company: Spectre UK
Director: Daniel Kleinman

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Grand Prix 2002 – Nike (Tag)

A young man is tagged in an elaborate game, involving the entire city. He races off to tag someone else, and they elude him to the very end.

Advertising Agency: Wieden + Kennedy, USA
Creative Director: Dan Wieden, Hal Curtis, Jim Riswold
Art Director: Monica Taylor, Andy Fackrell
Director: Frank Budgen

Alternative Grand Prix – Levis (Odyssey)

A man and a woman hurtle through a string of solid walls. They crash out of the building, land on a tree, and run up it into the night sky.

Advertising Agency: BBH, UK
Creative Director: Stephen Butler
Art Director: Gavin Lester
Production Company: Academy, UK
Director: Jonathan Glazer

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Grand Prix 2003 – IKEA (Lamp)

An old lamp is thrown out to make way for a new one from Ikea.

Advertising Agency: Crispin Porter + Bogusky, USA
Creative Director: Alex Bogusky, Paul Keister
Art Director: Mark Taylor, Steve Mapp
Copywriter: Ari Merkin
Production Company: MJZ, Los Angeles
Director: Spike Jonze

Alternative Grand Prix – Honda (Cog)

Cog is a two-minute chain reaction using only parts from a Honda Accord. Each car part cleverly triggers off the next, showing the beauty and precision of the pieces, and the ingenuity of the engineers who built it, prompting the V/O to comment “Isn’t it nice when things just work?”.

Advertising Agency: Weiden + Kennedy, London
Creative Director: Tony Davidson, Kim Papworth
Art Director: Matt Gooden
Copywriter: Ben Walker
Production Company: Partizan, London
Director: Antoine Bardou-Jacquet

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Grand Prix 2004 – Playstation 2 (Mountain)

Hundreds of thousands of people are forming a human mountain higher than any of the other buildings in the city. At it’s zenith a variety of people enjoy a moment of exhilaration before others scramble over them and take their place.

Advertising Agency: TBWA/London
Creative Director: Trevor Beattie
Art Director: Tony McTear
Copywriter: Paula Marcantonio, Tony McTear
Production Company: Gorgeous Enterprises, UK
Director: Frank Budgen

Alternative Grand Prix – Lynx 24-7 (Getting Dressed)

A man and woman wake up in bed. They start getting dressed. We soon discover that their clothes are scattered right across the city. The last shoe sits by two opposite-facing shopping trolleys in a supermarket. The couple met there only hours ago. The man was wearing Lynx 24/7 bodyspray.

Advertising Agency: BBH, UK
Creative Director: Rosie Arnold
Art Director: Nick Gill
Copywriter: Nick Gill
Production Company: Small Family Business, UK
Director: Ringan Ledwidge

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Grand Prix 2005 – Honda (Grrr)

Can hate be a good thing? Honda ‘Grrr’ sets out to prove just that. A tranquil world is invaded by flying, dirty old Diesel engines. However, the population get angry and even, using their hate for the better, destroying every last one. Finally, they herald the brand new Honda Diesel.

Advertising Agency: Weiden + Kennedy, London
Creative Director: Tony Davidson, Kim Papworth, Chris O’reilly
Art Director: Sean Thompson, Michael Russoff, Richard Russell
Copywriter: Sean Thompson, Michael Russoff, Richard Russell
Production Company: Nexus Production, London
Director: Adam Foulkes, Alan Smith

Alternative Grand Prix – Adidas (Hello Tomorrow)

Adidas 1 is the first shoe with a computer. “Hello Tomorrow” demonstrates that with every step these magical shoes can create an entirely new world out of nothing. It is a story of rebirth and
taking your first steps – again.

Advertising Agency: TBWA/Chiat/Day, San Francisco
Creative Director: Lee Clow, Chuck McBride, Joe Kayser
Art Director: Joe Kayser
Copywriter: Chuck McBride
Production Company: MJZ, Los Angeles
Director: Spike Jonze

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Grand Prix 2006 – Guinness (Noitulove)

Three young men at a bar drink Guinness. Suddenly the action pauses and the film starts to play in reverse. The men walk backwards out of the bar. As they walk they seamlessly go back down the evolutionary chain through hundreds, thousands, millions of years. Super: GUINNESS. Good things come to those who wait.

Advertising Agency: Abbott, Mead, Vickers, BBDO, UK
Creative Director: Paul Brazier
Art Director: Matt Doman
Copywriter: Ian Heartfield
Production Company: Kleinman Productions, London
Director: Danny Kleinman

Alternative Grand Prix – Sony (Balls)

Dropping 250,000 brightly coloured bouncy balls down the streets of San Francisco for real = colour like no other.

Advertising Agency: Fallon London
Creative Director: Richard Flintman
Art Director: Juan Cabral
Copywriter: Juan Cabral
Production Company: MJZ, London
Director: Nicolai Fuglsig

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Grand Prix 2007 – Dove (Evolution)

We created a film that exposed the manipulation of the female image in the media. The objective was to encourage discussion around the subject of real beauty and lead people to the campaignforrealbeauty website.”

Advertising Agency: Ogilvy & Mother Toronto
Creative Director: Janet Kestin, Nancy Vonk
Art Director: Tim Piper, Mike Kirkland
Copywriter: Tim Piper
Production Company: Reginald Pike, Toronto
Director: Yael Staav, Tim Piper

Alternative Grand Prix – Epuron (Power of Wind)

Wind has a strong nature. Better keep him busy…

Advertising Agency: Nordpol + Hamburg, Germany
Creative Director: Lars Ruehmann
Art Director: Bjoern Ruehmann, Joakim Reveman
Copywriter: Matthew Branning
Production Company: Paranoid Projects, USA
Director: The Vikings

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Grand Prix 2008 – Cadbury (Gorilla)/Microsoft (Halo 3 Campaign)

We hear ‘In the air tonight’ by Phil Collins as we realize we’re in front of a calm looking gorilla. ‘I’ve been waiting for this moment for all of my life…’ The ape stretches its neck like a heavyweight boxer would do before a fight. He’s sitting in front of a massive drum kit as the best drum fill of the history of rock is coming. The Gorilla knows this. He smashes the drums phenomenally – feeling every beat. The camera leaves the ape and his drum. United, the way they are meant to be.

Advertising Agency: Fallon London
Creative Director: Richard Flinthan, Juan Cabral
Art Director: Juan Cabral
Copywriter: Juan Cabral
Production Company: Blink, London
Director: Juan Cabral

On-line, the Halo 3 website served as a virtual museum, providing an interactive fly through of the entire John 117 monument and putting visitors right in the middle of the fight. They could also learn more about our enemies and hear first hand stories from the men who were there. For that we filmed interviews with surviving veterans of the battle who served with Master Chief. They talked about their experiences and spoke with reverence and awe about what it was like to serve with mankind’s greatest hero.

Advertising Agency: T.A.G. San Francisco/McCann Worldgroup
Creative Director: Geoff Edwars, Scott Duchon
Art Director: Ben Wolan
Copywriter: Rich Herrera
Production Company: Go Film, Hollywood/RSA Films Los Angeles
Director: Simon McQuoid, Rupert Sanders, Neil Blomkamp

Alternative Grand Prix – Nike (Next Level)

“Next Level” is new take on Football from Nike. Made to inspire football obsessed teens, the film is a first-person journey up the football ranks–from being discovered by Arsenal in a youth match to a life-defining moment playing for our national side. Along the way we experience success (finishing a cross from Cesc Fabregas) as well as frustration (getting burned by Ronaldinho). The film celebrates playing the game with purpose and passion. It shows what it takes to become a modern, brilliant fofotballer – to take your game to the next level.

Advertising Agency: 72 And Sunny, USA
Creative Director: Glen Cole, John Boiler, Bryan Rowles, Jason Norcross
Production Company: Anonymous Content, USA
Director: Guy Ritchie

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Grand Prix 2009 – Philips (Carousel)

Philips set out to own the idea of a cinematic viewing experience at home. From the start the strategy was to create a film that movie lovers would want to see.

The film is hosted within a site that, through interaction, educates the audience about the three main features of Philips televisions – Ambilight, Cinema 21:9 and Picture Quality – and ties these features to the act of film making. So, what would movie lovers want to see? We decided on a seamless tracking shot, one long take that a film loving audience could marvel at and be fascinated by. Within the ‘housing’ of a tracking shot we inserted behind the scenes glimpses where the experts could talk about their craft and the decisions they made whilst filming the shot. The DOP on lighting, the Director on the 21:9 format and VFX supervisor shows why picture quality is so important. To allow for more interaction, we decided that a frozen time film, shot using a state of the art motion control rig, would give the audience control upon interaction allowing them to literally move the camera back and forth frame by frame. This is done intuitively through a ‘grabbing hand’ cursor when the screen is moused over.

What makes this interaction really special is the interactive cinematic score. The score, composed by Michael Fakesch, was composed as a linear piece, but was then handed over to a flash music developer to carve up and distort as the user moved back and forth through time, frame by frame – all designed to pull the audience in and hold them there longer whilst they try to unravel the mystery of how the film was made.

The second main element of interaction is the way the audience is able to trigger the three behind-the-scenes educational scenes from the film’s timeline. When the user clicks on the timeline, they reveal films within the film. The timeline unfolds and expands, the post production disappears, each expert walks in and the rigging reappears revealing that all along the actors were simply holding their position whilst a state of the art motion rig captured them in frozen time. All this was designed to be as seamless as possible with maximum visual reward ensuring the audience clicked all three of the hotspots.

In addition to the interaction within the film, the ratio of the film itself could be changed at anytime through first person interaction. This simple, but effective comparison tool really did get across the spectacle of the new Philips 21:9 TV. The other elegantly simple piece of interaction is Ambilight on and off, in the words of the DOP – “you really miss it when it’s not there.”  A final point worth noting is the dynamic title sequence. Instead of a traditional loader, we crafted a title sequence correspond to the speed of the users internet connection. The slower the connection, the longer the sequence.

Advertising Agency: Tribal DDB Amsterdam
Creative Director: Michael Fakesch, Chris Baylis, Andrew Ferguson
Art Director: Mariota Essery, Maximilliano Chanan
Copywriter: Carla Madden
Production Company: Stink Digital, London
Director: Adam Berg

Alternative Grand Prix – T-Mobile (Dance)

On 15th January at 11am, a single commuter started dancing in the middle of a train station. The dance grew as more dancers joined in, until there were over 300 people perfectly choreographed. The excitement caused hundred’s of genuine unsuspecting members of the public to join in and share the moment.

Advertising Agency: Saatchi & Saatchi, London
Creative Director: Paul Silburn, Kate Stanners
Art Director: Rick Dodds
Copywriter: Stephen Howell
Production Company: Partizan, London
Director: Michael Gracey

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Grand Prix 2010 – Old Spice (The Men Your Man Could Smell Like)

This TV commercial was created to appeal to men as well as women, showing them both how great a man can smell when they use Old Spice Body Wash.

Advertising Agency: Wieden + Kennedy, Portland
Creative Director: Mark Fitzloff, Susan Hoffman
Art Director: Craig Allen, Eric Kallman
Copywriter: Craig Allen, Eric Kallmacanal
Production Company: MJZ, Los Angeles
Director: Tom Kuntz

Alternative Grand Prix – Canal + (Closet)

Canal+ launched its new ‘Original Creativity’ campaign in September 2009. The objective highlight to Canal+’s showcase of original programming, consisting of series, documentaries and fictions, created exclusively by and for Canal+, scripted by prestigious writers such as Olivier Marchal and Jean- Hugues Anglade. To launch this new campaign, we produced THE CLOSET. The film unites quality, humour, originality and a touch of impertinence inherent to the brand’s communications: ‘Never underestimate the power of a great story”

Advertising Agency: BETC EURO RSCG, Paris
Creative Director: Stephane Xiberras
Art Director: Eric Astorgue
Copywriter: Jean Christophe Royer
Production Soixan7e Quin5e, Paris
Director: Matthijs van Heijningen

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Grand Prix 2011 – Nike (Write the Future)

Every four years, the keys to football heaven are dangled in front of the international elite. One goal, one pass, one game saving tackle can be the difference between fame and forgotten. What happens on the pitch in that split second has a ripple effect that goes beyond the match and the tournament.
‘Write the Future’ was a messaging platform that allowed Nike to show how football creates this ripple effect. It allowed us to give a glimpse into the future to see what the players were really playing for, in their own lives and the lives of those that follow them. Our goal was to weave the brand into the conversations around this major tournament in a way that celebrated the participating teams and athletes and engaged football fans around the world.

Advertising Agency: Wieden + Kennedy, Amsterdam
Creative Director: Jeff Kling, Mark Bernath, Eric Quennoy
Art Director: Stuart Harkness, Freddie Powell
Copywriter: Stuart Harkness, Freddie Powell
Production Company: Independent Films, London
Director: Alejandro Gonzales Inarritu

Alternative Grand Prix – Volkswagen (The Force)/Crysler (Born of Fire)

For the all-new 2012 Passat , Volkswagen brings Star Wars™ to one of TV’s most talked about events. Accompanied by John Williams’ iconic “The Imperial March,” the spot features the most infamous villain in the galaxy, a pint-sized Darth Vader who uses the Force when he discovers the all-new 2012 Passat in the driveway. The two iconic brands leverage humor and the unforgettable Star Wars score to create an emotional spot and make Super Bowl ad history.

Advertising Agency: Deutsch, Los Angeles
Creative Director: Eric Springer, Michael Kadin
Art Director: Ryan Mclaughlin, Craig Melchiano
Copywriter: David Povill
Production Park Pictures, Santa Monica
Director: Lance Acord

Of the big three American car companies, Chrysler was in the most danger of failing. Had there not been a last-minute vote of confidence from the U.S. Government, they would not exist. This was public knowledge, debated throughout the country—should we have loaned Chrysler the money?  When it came time to introduce a new product, we had a car to sell and also had to win back America’s confidence. To do this, we took the unlikely position of embracing Chrysler’s Detroit heritage when every other American car company was distancing themselves from the city.  We created a 2-minute homage to Detroit, a city primed for a comeback, and ran the spot only once, on Super Bowl Sunday.

Advertising Agency: Weiden + Kennedy Portland
Creative Director: Mark Fitzloff, Susan Hoffman, Aaron Allen
Art Director: Jim Lasser
Copywriter: Mark Fitzloff, Joe Staples, Kevin Jones, Greg Rutter, Dan Kroeger
Production: Serial Pictures, Culver City
Director: Samuel Bayer


Great Stories Start in Cannes

“Everybody who has been to the Cannes Lions Festival has a story to tell. A story that in some shape or form has influenced or changed their lives,” says Philip Thomas, Festival CEO. “Who better to give an insight into the ethos of Cannes – the opportunities, the creativity, the relationships, the rewards – but some of those people who know best, and at first-hand, that great advertising and communication is about storytelling.”

Marcello Serpa (Chief Creative Officer ALMAP/BBDO)

Mark Tutssel (Chief Creative Officer Leo Burnett Worldwide)

Stephane Xberras (Executive Creative Director BETC Euro RSCG)

Bob Greenberg (Chairman, CEO Global CCO R/GA)

Fernando Vega Olmos (Chairman of the Worldwide Creative Council JWT Worldwide)

Armin Jochum (Chief Creative Officer Jung von Matt)

Tom Beckman (Executive Creative Director Prime)

Prasoon Joshi (Executive Chairman, Regional ECD APAC McCann Erickson)

Nick Brien (Chairman, CEO McCann Erickson)

Eugene Bay (Chairman VBAT)

Sir John Hegarty (Worldwide Creative Director BBH)

David Droga (Creative Chairman Droga5)

Jonathan Mildenhall (VP, Global Advertising Strategy and Content Excellence The Coca-Cola Company)

Sir Martin Sorrell (CEO WPP)

Dana Anderson (Senior Vice-President Marketing Strategy and Communications Kraft Foods)

Fernanda Romano (Creative Partner Naked Brasil)

Matias Palm-Jensen (Chief Innovation Officer McCann-Erickson Europe)

Sylvia Vitale Rotta (CEO Team Créatif Group)

Mainardo de Nardis (CEO OMD Worldwide)

Maria Luisa Francoli Plaza (Global CEO MPG)

Jeff Benjamin (Chief Creative Officer JWT North America)

Rei Inamoto (Chief Creative Officer AKQA)

 


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