BETC Euro RSCG for Canal+ | Never underestimate the power of a great creativity

A spectacular battle scene between two tribes, featuring thousands of warriors. We are on a film set. The take has to be re-shot, which will help us understand why actors are so good at playing dead.
This is a humorous spot revealing that the black bands you often see within the television viewing box are actually created, they are not the filming format which has not been adapted to the televisio
Creative Director: Stephane Xiberras
Copywriter: Marc Rosier
Art Director: Jean Marc Tramoni
Production: Premiere Heure/Harvest, Santa Monica
Director: Baker Smith
Year: 2003

March of the penguins but with actual emperor’s not emperor penguins.
Creative Director: Stephane Xiberras
Copywriter: Pierre Riess/Luc Rouzier
Art Director: Romain Guillon/Eric Astorgue
Production:, New York
Director: Glue Society
Year: 2006
Gold Lion

A woman tells her friend about a really good film that she had seen on CANAL+ ‘Brokeback Mountain.’ From this description, her friend interprets a totally different, totally absurd, scenario.
Creative Director: Stephane Xiberras
Production Partizan, Paris
Director: Les Elvis
Year: 2007


Creative Director: Stephane Xiberras
Copywriter: Nathalie Dupont
Art Director: Francis de Ligt
Production Company: Sonny PH
Director: Fredrik Bond
Year: 2008

We are taken back in time to a period film set in the Chateau de Versailles where the characters are all bizarrely huffing and puffing through their lines. Final scene cuts to a woman jogging, recounting the plot to another woman, and huffing and puffing as she recounts it. The signature reveals “CANAL+ Movies are made to be seen”
We see a stereotypical scene from a mafia movie where all the characters have a strange tick. Final scene cuts to a boy recounting the plot to his friend, constantly flicking his hair as he does so. The signature reveals “CANAL+ Movies are made to be seen”
Creative Director: Stephane Xiberras
Copywriter: Nathalie Dupont
Art Director: Francis De Ligt
Production Company: Irene, Paris
Director: Xavier Gianolli
Year: 2009

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’.
Creative Director: Stephane Xiberras
Copywriter: Jean-Cristophe Royer
Art Director: Eric Astorgue
Production Company: Soixan7e Quin5e, Paris
Director: Matthijs van Heijningen
Year: 2010
Gold Lion and 2 Bronze Lions

The agency created a campaign that fits in with the advertising success story of Canal+: diving into the world of TV programmes with the now classic disrupting phenomenon, played out here through the characteristic functionalities of the iPhone. In the TV ad, it is the iPhoneʼs trademark tipping to the side into landscape format that completely disrupts the romantic scene of a great Hollywood film. A couple are about to kiss, when suddenly the entire set falls over to one side.
Creative Director: Stephane Xiberras
Copywriter: Benjamin Sanial
Art Director: Raphael Halin
Production Company: Moonwalk Film, Paris
Director: The Glue Society
Year: 2011


The trailer begins with a car bomb exploding. As the clip goes backwards we discover that the scene takes place in the middle of a tranquil Paris. Ending with a characteristic “Tick Tock” sound the trailer is designed to intrigue the viewer to watch the series and find out more about the character behind the bomb – Carlos – the terrorist who threatened the world. We wanted to pitch the right tone, a suitably sober approach across all media, to avoid controversy and to avoid falling into the trap of eulogising a character that is, after all, a murderer.
Creative Director: Stephane Xiberras
Copywriter: Charles Lefort
Art Director: Viken Guzel
Production Company: Wanda, Paris
Director: Wilfrid Brimo
Year: 2011
Bronze Lion

Learn how to deal with tight budgets, hung over cameramen, actors not showing up and grumpy directors. TV Channel, Canal+ supports those who make movies simply because making a movie isn’t easy.

Executive Creative Director: Stéphane Xiberras
Creative Director: Olivier Apers
Art Directors / Copywriters: Gregory Ferembach, David Troquier
Illustrator: Les Graphiquants
Year: 2011
Silver Lion for the Campaign


Canal+  has always been committed to cinema. It is more than a mere broad- caster. It has always sought to go the extra mile for its subscribers and portray the film industry as no one else has done: emphasising the diversity of the genres, deciphering current and future trends, empowering actors and directors, and in general, transmitting the passion of all those who work in the film industry to its subscribers.
Thanks to its varied and cutting-edge program- ming – from blockbus- ters to art films. Thanks to the unique, quality insight that it provides into what goes on in front and behind the camera. Thanks to the unique ties that it maintains with the film industry (Studio CANAL, partnerships, financing, Cannes Festival, the César awards, etc.).
Canal+ and BETC have now come up with a film, The Bear, to remind audiences of the channel’s continuing commitment: to transmit the passion of film- making to its subscribers.
The more you watch Canal+, the more you love cinema.
To make this film, BETC chose to work with Matthjis van Heijningen, who also directed The Closet, which was the most awarded film in 2010 (The Gunn Report).
The tone remains unique, enhanced by the use of 3D to make the bear as expressive as possible. The same creative team, which worked on The Closet, Éric Astorgue and Jean-Christophe Royer, under the supe vision of President and Chief Creative Officer of BETC, Stéphane Xiberras, once again contribute to the distinguishing tone that is so familiar about the ma- jor advertising campaigns of Canal+.

Global Creative Director: Stéphane Xiberras
Art Director: Eric Astorgue, Julien Schmitt
Copywriter: Jean-Christophe Royer
Production Company: Soixante Quinze
Director: Matthijs Van Heijningen
Year: 2011

Fretex/The Salvation Army – Surprise Catwalk


The brief
Fretex is a second hand clothing chain operated by the Salvation Army. Oslo Fashion Week is a big annual happening for the Norwegian fashion industry, and it was a goal for Fretex to be a part of it. The main objective was to create publicity in the media about Fretex and their second hand
operation and the fact that they need more clothes for their operation. Second the objective was to lead fashion oriented bloggers, journalists and people working within the fashion industry the Fretex Fashion Fanpage on Facebook. The target was everyone involved in the fashion industry, but also most people in Norway that have an interest in fashion.

The creative solution
The creative solution of the dramatizing is highly relevant by the placement of where the event took place. The subway-station exit is next door to the Oslo City Fashion Mall where more than 100.000 people go through every day. The event created highly awareness by passers-by and also in the aftermath created more than 150.000 downloads of the film of the event, through norwegian internet online sites and in social media. The client received a big boost in the awareness on their own website and had a 40% increase in the delivery of recycled clothes in the next 4 weeks. Flyers were also handed out to people at the event to promote awareness

We installed a fashion catwalk at a central subway exit at the most central place in Oslo, and used the subway passengers as our models. Normal people were unexpectedly taken by big surprise, being featured on the Fretex catwalk, and demonstrated in that way next years collections. Along the runway and the red carpet used as the platform, there was also well-known fashion stylists, journalist and models being the expert audience, and a well known DJ taking care of  the music in a way that matched the different models..

The results
The event created a lot of publicity in the media. The largest tabloid newspaper; VG, made a 3 minute long documentary and placed is as their head TV-story that day, and moved it to the editorial fashion content later. More than 300.000
was exposed for the film the first week. Several other media had good coverage about the event and the footage spread rapidly on social medias across the world. Second the objective was to lead fashion oriented bloggers, journalists and people working within the fashion industry the Fretex Fashion Fanpage on Facebook. After the event there has been an increase of 2.500 members from 6.000 to more than 8.000 members.

Advertising Agency: Kitchen Leo Burnett, Oslo
Art Director: Eirik Stensrud
Copywriter: Thomas Askim
Year: 2011
Silver Lion

Volkswagen Fox/Short but Fun – Complete Case History

A robbery. A burger. A dance contest. An overdose. A shot in the head. A robbery. Watch Hollywood’s legendary blockbuster “Pulp Fiction” in 30 seconds. Short and fun. Just like the VW Fox.

A ship, a man, a woman. Ship sinks. Man dead. Woman alive. Watch Hollywood’s legendary blockbuster “Titanic” in 30 seconds. Short and fun. Just like the VW Fox.

Vacant hotel. Lonesome family, sick father. Psychic power. Bloody ending. Watch Hollywood’s legendary blockbuster “Shining” in 30 seconds. Short and fun. Just like the VW Fox.

A great white shark. Lots of dead people. A bunch of fearless men. A dead shark. Watch Hollywood’s legendary blockbuster “Jaws” in 30 seconds. Short and fun. Just like the VW Fox.

An obsessed girl. A priest. An expulsion. A dead priest. Watch Hollywood’s legendary blockbuster “The Exorcist” in 30 seconds. Short and fun. Just like the VW Fox.

A space ship. An alien. A nightmare. One survivor.
Watch Hollywood’s legendary blockbuster “Alien” in 30 seconds. Short and fun. Just like the VW Fox.

A princess. A dark lord. A Jedi. A death-star. A battle. A happy end. Watch Hollywood’s legendary blockbuster “Starwars” in 30 seconds. Short and fun. Just like the VW Fox.

Question: What do one German mini-car, six Hollywood blockbusters and a fast-talking cast of cartoon bunnies have in common? Answer: They all figured prominently in a wildly original and successful TV advertising campaign that last year earned a Gold World Medal in the International Awards Group’s 2006 Advertising and Marketing Effectiveness (AME) Awards.
The mini-car in question is the Volkswagen Fox, a sporty compact car aimed at youthful, first-time car buyers. The ad campaign, created for Volkswagen AG by DDB Düsseldorf and built around the tagline “Short but Fun,” featured 30-second, animated versions of six international film hits, including Titanic, Jaws and Pulp Fiction. And the bunnies? They took the place of the films’ human characters, adding an element of the outrageously hip to the spots that captivated German audiences during the campaign’s brief, four-day run.
The AME Awards committee, comprised of a multi-cultural and international cross-section of top marketing executives, recognizes integrated marketing campaigns that are fresh, creative and above all, successful.  Campaigns that demonstrate innovative problem solving, and that achieve specific business goals using well-crafted concepts, inspired marketing strategies and an effective combination of traditional and/or alternative media tactics.

Volkswagen’s “Short but Fun” campaign met all these criteria, achieving extraordinary, measurable results for the German car manufacturer that exceeded its campaign objectives and proved it could capture an audience of very critical media users on a very tight production and media budget.

A Clear Objective
Volkswagen introduced the Fox in the spring of 2005 into the price-driven mini-car segment. Despite Volkswagen’s premium image and the Fox being slightly higher priced than the competition, it soon became the market leader.
The launch campaign emphasized the idea that in opting for economy, buyers would not have to compromise quality and reliability. This notion appealed to buyers at all levels, however the next phase of communication would need to sharpen the Fox’s profile among its main target audience: youthful, first time car buyers between the ages of 18-25.

A Moving Target Audience
While highly desirable, this group is the hardest to reach through traditional advertising methods. They have grown up being bombarded by messaging from multiple communication channels and have a very short attention span. If content does not grab them immediately, they turn elsewhere.  DDB faced a formidable challenge in coming up with a strategy to capture their attention and motivate them to action.

Inspired Creative Strategy
“We developed a very creative positioning for the VW Fox: short but fun,” said DDB’s Luis Ramirez.  That’s the message we wanted to communicate: a small car that is fun to drive and does not cost a fortune.  The ideal car for young people.”
The ‘Short but fun” positioning also was developed to differentiate the Fox from its competitors’ cliché lifestyle advertising, which implies that one need only drive a certain car to be more active, attractive and popular. Rather, the ‘Short but fun” messaging conveyed that driving a Fox provides a concentrated, intense form of fun that doesn’t depend on others’ approval; the type of enjoyment that young, upwardly mobile people seek.
In order to illustrate this concept, the agency teamed with artist Jennifer Shiman, whose 30-second, animated versions of cinema classics – starring floppy-eared versions of Hollywood’s A-list – were sure to stop young, media-savvy consumers in their tracks.
“To get this target group excited about the Fox, we created a funny communication platform:,” said Ramirez. “There, site visitors could find a variety of short and fun content, including short films. So we were looking for endlessly long films, told in a very short time.  When we discovered the movies of Jennifer Shiman on the Internet, we realized that they perfectly matched our positioning and had to part of our platform.  We contacted her and discussed a potential cooperation.  She was very excited to work with us. We had to animate and cut the films created by Jennifer so that they matched with the already shot Fox ending. The result: six crazy films, loved by everybody.”
An interesting note: though the commercials appeared only in Germany, they were run in English, in order to speak pointedly to the young target audience.

Innovative Media Strategy
In order to keep media costs down, DDB decided to air the commercials for only four days and make the Internet the main communication channel. This was a risky decision, however the concepts and creative were so strong that DDB felt that viewers would flock to the Fox’s microsite to see more. To ensure that the campaign reached the maximum number of desired audience members, the agency chose a very targeted media strategy, running the commercials on music channels such as MTV, and choosing weekend spots during entertainment shows rather than mid-week spots between shows.
Once on the “Short but fun” web site, viewers could watch all the commercials as movie streams. In order to engage the viewers further, they were asked to rate each commercial. In addition, a banner ad with a link to the Fox product web page was prominently positioned on the home page so that users could learn more about the Fox.

Dazzling Results
The primary, direct communication objective of the “Short but fun” campaign was to generate 20,000 visits to the homepage. Within only four days, over 31,000 visits were counted, exceeding the original goal by 56 percent.
The agency also projected the campaign would generate 2,000 email addresses and increase traffic to the Fox product web page by 10 percent.  After four days, over 8,000 users provided their addresses in order to receive more information, and the number of visitors to the web page increased by 37 percent.
Further, qualitative research indicated high recall and positive reactions among viewers, demonstrating that the campaign did indeed achieve its objective of raising the Fox’s profile among young, first time car buyers.

Advertising Agency: DDB Dusseldorf
Creative Director: Jennifer Shinan/Eric Schoeffler
Copywriter: Tim Jacobs
Art Director: Jennifer Shiman/Christian Brenner
Production Company: Angry Alien Productions, Los Angeles
Director: Jennifer Shinan

Bar Aurora/Boteco Ferraz – The $73,000 Bar Tab

Insights, Strategy & the Idea
The objective of this campaign was to raise awareness, to make people think about drunk driving, and to draw attention to a chain of bars and a cause. The target audience was comprised of the regular customers of Bar Aurora and Boteco Ferraz and new customers from the Internet. The strategy of this campaign was to impact people in the moment that they decide whether to drive drunk in such a way that the message would stick with them and spread. The strength of this idea lies in the nature of the customers. They’re not likely to read anything at the bar, until they receive their bills. It’s natural to check where money’s going and connecting the expenses of their night out to the real costs of drinking and driving proved very impactful. This execution is important to the brand, because tab is the one-thing customers care about most.
Creative Execution
The creative solution was to add the real costs of drunk driving to customer’s bar tabs. The goal was to get people’s attention right before they left the bar and persuade them to think about alternate transportation. A second goal was to spread awareness about the dangers of drunk driving. We filmed everything during those nights in the hopes that we could utilise the Internet to attract hundreds of thousands of views.
Results and Effectiveness
People asked to take the bar tabs with them to show their friends. Then the message took off. In just one month, it became a Trending Topic on Twitter, gained 200,000 views on YouTube and was mentioned in hundreds of blogs. The case video was discussed so extensively that it became one of YouTube’s most discussed videos in both Brazil and Spain. With 503,000 mentions on Google, Bar Aurora and Boteco Ferraz received tons of attention. As for talking to drunk drivers, on the nights of this action there was an 80% increase in consumers hailing cabs from these locations.

Advertising Agency: Ogilvy Brazil
Executive Creative Director: Anselmo Ramos
Creative Director: Rubens Filho
Copywriter: Megan Farquhar
Art Director: Bruno Riberio/Denis Kakazu

Mini Christmas Box

2009 was the year of MINI’s “99 euro” campaign. MINI was looking for a closing offensive within this campaign for the month of December. The goal was to convey the MINI brand experience in combination with the low price. We used the familiar day-after-Christmas street scene: rubbish bags, Christmas trees, and the cardboard boxes our presents came in. A recognisable scene that MINI also makes intriguing. Because all over the city, we see a MINI Box on people’s doorsteps with a big “99 euro” price-tag. This is how we showed that MINI falls under the category of “affordable presents”.

Advertising Agency: Ubachswibrun/JWT, Amsterdam
Creative Director: Thijs De Boer/Martin Van Der Werf
Copywriter: Thomas Reinold
Art Director: Thom Van Rijckevorsel

AXN TV Boxes – The TV boxes that promoted a TV channel

The brief:
AXN is a TV channel famous for its TV series. Our task was to promote these series in order to get new spectators for the channel.
Describe the promotion:
When people buy a new TV, all they can think about is watching it. We took advantage of this opportune moment to announce the series. In a partnership with a leading TV brand, we printed their own boxes with the series screenshots and schedule, suggesting consumers how to best enjoy their new TV. The boxes carried our communication to stores all over the country, impacting both consumers at POPs and at home.
AXN had no cost at all to implement the idea. The printing and shipping were handled by the TV manufacturer, as they were used to doing. In exchange, AXN paid them back with empty advertising slots. In one month, the boxes reached over 300,000 people. In the same period, AXN register a 12% increase in its ratings, such a good result the client is now extending the project to other TV brands. In 2010, our national TV market sold over 10 million TVs – a number that has been growing bigger and bigger. We got a ride on that huge demand to speak to spectators in a perfect moment to get them to watch the series.

Advertising Agency: Publicis Brazil
Executive Creative Director: Hugo Rodrigues
Creative Director: Kevin Zung
Copywriter: Luis Felipe Figueiredo
Art Director: Antonio Correa

Conect Pay TV – The village where nothing ever happens

Shackleton in Spain in 2008 demonstrated the power advertising on Pay TV channels with a campaign promoting tourism in Miravete, the village where nothing ever happens (El pueblo en el que nunca pasa nada). The campaign was developed for El Consejo Especialista en Canales Temáticos, CONECT (Specialised Council of Thematic Channels).To test the efficiency of Pay TV the agency had to choose a product that was unknown and had never been advertised on television. The campaign would need to be launched only on Pay TV, with a clear call to action related to the product and its web site. They needed to set up variables that could be measured before, during and after the campaign: knowledge, awareness, site traffic and sales. At the end of the project Pay TV would be accredited for the experiement’s success in a public way.

The campaign won seven Lions at Cannes International Advertising Festival 2009: 2 Direct Gold (Use of Media Direct Response Broadcast: TV, Radio & Infomercials, Product & Service Publications & Media), 2 Direct Silver (Use of Media Direct Response Digital: e-commerce, online advertising & brand awareness, and Best Integrated Campaign Led by Direct Marketing), 2 Promo Silver (Best Integrated Campaign led by Sales Promotion, Publications and Media) and 1 Promo Bronze (Best use of TV in a Promotional Program).

Objective of the direct campaign
Pay TV Thematic channels have spent 20 years running advertising campaigns talking about its advertising efficiency. On 2008, they were looking for a different reaction. It was time to stop talking about efficiency and we decided to demonstrate it unequivocally through a real exercise involving four steps:
1) Choose an unknown and never-advertised-on-TV product.
2) Launch an advertising campaign only on Pay TV, with a clear call to action to the product and its website.
3) Measure variables (knowledge, awareness, traffic, sales) before, during and after.
4) Accredit Pay TV for the experiment’s efficiency and announce it to the market.

Creative solution
The chosen product was Miravete de la Sierra: A tiny village with amiable people, on Sierra de Lastra, Maestrazgo County, Province of Teruel. Its 12 inhabitants became the stars in a real tourism campaign as if it were a much bigger and important city. Few weeks later, Miravete became a media and tourist phenomenon, attracting plenty of tourists and journalists.
Since Pay TV was the only media channel involved, its role was direct and unquestionable. Subsequently, the “Miravete Case Study” was elaborated and detailed results were presented to media and advertisers in order to communicate the efficiency of Pay TV. We headed for a challenge: Create a different, unexpected tourism campaign.  Amidst tourism campaigns that bear a huge offer of activities, we chose to invite people to do nothing:

Four TV Spots starred by its 12 inhabitants invited the viewers to the village.
86 year old Cristobel Sanguesa provides the narrative. “There are no cars or traffic lights here, the only work is going to buy bread, check the kitchen garden and the hens”.
We’re introduced to the 12 inhabitants one by one. In reality there are usually 47 people staying in the village over the winter, with many more arriving in the summer.
A game of cards and a coffee in the local tavern
Two men in the village retrieve a rock from the local stream.

The site included a 3D virtual tour through the the village led by its eldest inhabitant Cristobal. An online reservation office allowed visitors to book a room in the “Priest’s House” or in the rural hostel. Participants were invited to take part in the village’s most common activity, goat milking. Replicas of the 12 inhabitants were made available for sale, along with free ringtones, screensavers and campaign materials. A donations facility allowed donations to buy tiles to restore the church’s roof.

– Amidst the crisis, the thematic channels increased their advertising market share a 5.05% (value) and maintained its volume (seconds) against a decline of a 7,5% of general TV Stations. (Infoadex/Sofres);
– 517,000 web visits;
– Estimated Publicity: 574.540€;
– Awareness: 498% increase, before 390.840, after 1.568.700 (IMOP);
– Recall: 56% (CIMEC);
– 10 times more visits than, (Nielsen Netratings);
– 650 links and references (YouTube, Facebook) (Infometrics);
– The two village bed and breakfast booked solid for four months.

Advertising Agency: Shackleton
Executive Creative Director: Juan Silva
Copywriter: Juan Silva/Carlos Janini
Art Director: Carlos Alvarez