As Leo Bur­nett re­veals this year’s Cannes Pre­dic­tions reel, Mark Tutssel looks at the cam­paigns turn­ing ideas into gold

Campaign UK - - FRONT PAGE - Mark Tutssel is the global chief cre­ative of­fi­cer at Leo Bur­nett World­wide and cre­ative chair­man of Publi­cis Com­mu­ni­ca­tions

Some cam­paigns have the abil­ity to turn ideas into gold. Leo Bur­nett’s Mark Tutssel takes a look at who may man­age that at Cannes

It’s as pre­dictable as our an­nual pre­dic­tions. As the al­lure of Cannes grows stronger each year, we’ve grown ac­cus­tomed to hear­ing fa­mil­iar groans about new in­dus­tries and play­ers crash­ing the con­ver­sa­tion in the south of France.

In­deed, in re­cent years, we’ve wit­nessed an in­flux of so­cial plat­forms, start-ups and tech­nol­ogy com­pa­nies mak­ing the pil­grim­age to the world’s largest cel­e­bra­tion of creativ­ity. This year, we can ex­pect a sim­i­lar rise in rep­re­sen­ta­tion from across the en­ter­tain­ment sec­tor.

To me, this has all been a wel­come devel­op­ment, and it has never been more im­por­tant to make room at the ta­ble for new part­ners who can cocre­ate and am­plify our ideas, help us reach new au­di­ences and re­alise unimag­ined pos­si­bil­i­ties.

And as our an­nual Cannes Pre­dic­tions demon­strate, more than ever alchemy is at the heart of our busi­ness: the alchemy of creativ­ity and tech­nol­ogy, the alchemy of bril­liant con­tent and so­cial me­dia dis­tri­bu­tion, the alchemy of pop mu­sic and branded en­ter­tain­ment. The list goes on.

Of more than 40,000 en­tries, we can ex­pect less than 3% to leave with a cov­eted Lion. As we con­sider this year’s con­tenders, it’s clear that the pre­cious few that col­lect metal will be those that em­brace an in­creas­ingly col­lab­o­ra­tive world.

With­out fur­ther ado, let’s dive in, start­ing with a pair of sculp­tures poised for alchemy of their own – namely, to trans­form bronze into gold.

The first is a small fig­ure that made a big im­pres­sion in Lower Man­hat­tan on In­ter­na­tional Women’s Day. Un­der

the cover of night, a statue of a young girl was placed di­rectly in front of Wall Street’s iconic “Charg­ing Bull”. Star­ing down the beast with grace and de­fi­ance, STATE STREET GLOBAL AD­VI­SORS’ ‘FEAR­LESS GIRL’ be­came a clar­ion call for fe­male rep­re­sen­ta­tion in the cor­po­rate board­room.

On the other side of the planet, a grotesque char­ac­ter named Gra­ham de­liv­ered a pow­er­ful mes­sage to drivers about buck­ling up on the road. Con­ceived for Aus­tralia’s TRANS­PORT AC­CI­DENT COM­MIS­SION,

‘MEET GRA­HAM’ was a col­lab­o­ra­tive ef­fort be­tween an en­gi­neer, an artist and a physi­cian that brought to life in rich de­tail the in­cred­i­ble fea­tures the hu­man body would need to sur­vive a traf­fic crash. This fully in­ter­ac­tive sculp­ture spot­lighted hu­man vul­ner­a­bil­ity in a fresh way that grabbed head­lines around the world.

Be­yond sculp­ture, in­stal­la­tions made big im­pacts in ev­ery cor­ner of the globe. In Sin­ga­pore, NIKE de­liv­ered an in­cred­i­bly im­mer­sive ex­pe­ri­ence with the ‘UN­LIM­ITED STA­DIUM’, a 200m LED track that mea­sured run­ners’ times with ra­dio-fre­quency iden­ti­fi­ca­tion chips and of­fered them an op­por­tu­nity to race against vir­tual ver­sions of them­selves or an as­sort­ment of dig­i­tal avatars.

To keep sunny Mex­ico top of mind with win­ter-weary Ger­mans, MEX­ICO

TOURISM un­veiled the ‘TEQUILA

CLOUD’. Launched in Berlin dur­ing the height of rainy sea­son, this marvel of sci­ence used ul­tra­sonic hu­mid­i­fiers to va­por­ise the liq­uid into a cloud that rained tequila. The in­ven­tion in­cor­po­rated weather data so its show­ers were syn­chro­nised with lo­cal pre­cip­i­ta­tion.

Mean­while, when Storm Gertrude wrought real havoc on forests in Northern Ire­land’s Dark Hedges, a film set­ting for HBO’S Game of

Thrones, the wood from felled trees was trans­formed into ten cus­tom doors hand-crafted to de­pict sto­ry­lines from each episode of the show’s

sixth sea­son. The TOURISM IRE­LAND

‘DOORS OF THRONES’ were in­stalled in key lo­ca­tions across the coun­try, cre­at­ing a one-of-a-kind tour that spanned the nation.

As we know, en­gag­ing au­di­ences in an age sat­u­rated with dig­i­tal con­tent is no easy feat. Two con­tenders broke through by de­liv­er­ing twists that were clever enough to cap­ti­vate.

A young ro­mance is the os­ten­si­ble nar­ra­tive in SANDY HOOK PROM­ISE’S

“This marvel of sci­ence used ul­tra­sonic hu­mid­i­fiers to va­por­ise the liq­uid into a cloud that rained tequila”

‘EVAN’. Two teenagers ex­change flir­ta­tious mes­sages on a li­brary ta­ble be­fore they meet in real life on the last day of school. It’s just mo­ments be­fore one of the stu­dents’ peers en­ters the gym­na­sium bran­dish­ing a ma­chine gun. A rewind re­veals the trou­bled young man was there all along, hid­den slyly in the background of sev­eral key frames. The film proves out its stark mes­sage that gun vi­o­lence is only pre­ventable if you no­tice the signs.

In­sta­gram fol­low­ers of pho­to­genic French jet-set­ter Louise De­lage saw snap­shots of the 25-year-old’s highly styled and glam­orous life. In just weeks on the plat­form, she ac­cu­mu­lated nearly 17,000 fol­low­ers. But be­hind the glam­our, a trou­bling thread ran through her posts – a closer look re­vealed that, in each one, she was hold­ing a drink. ‘LIKE MY AD­DIC­TION’ for AD­DICT AIDE sparked a di­a­logue about the na­ture of ad­dic­tion. Like the in­con­spic­u­ous sub­plot run­ning through Louise’s feed, real ad­dic­tion can be easy to miss.

Not all of our favourite so­cial me­dia work was as sub­tle. In fact, one con­tender stood out for cap­tur­ing at­ten­tion on the most ephemeral of plat­forms – Snapchat. GATORADE’S ‘SER­ENA WIL­LIAMS’ MATCH POINT’

was an 8-bit mul­ti­level game that al­lowed users to re­play each of the ten­nis star’s Grand Slam sin­gles ti­tles. The first of its kind on Snapchat, the game got users to en­gage for more than three min­utes on a plat­form where three sec­onds is the norm.

As ex­pected, the bat­tle for hearts and minds at Christ­mas played out across the UK, with a range of su­perb work that raised the bar. Once again, JOHN

LEWIS took the crown for shar­ing sto­ries that res­onate and re­ward with

‘BUSTER THE BOXER’, a charm­ing tale about a long­ing, house-bound pup that was viewed more than 28 mil­lion times on Face­book and Youtube within 24 hours of its launch.

But the boxer steps into the ring fac­ing a for­mi­da­ble foe. Hail­ing from just across the Bay of Bis­cay, the SPAN­ISH

LOTTERY’S ‘DE­CEM­BER 21ST’ fol­lows a tra­di­tion of heart-warm­ing tales that cel­e­brate the magic of shar­ing. The fol­low-up to last year’s “Justino”, a Cy­ber Grand Prix win­ner, was a beau­ti­ful and warm hu­man story about a beloved re­tired school teacher who mis­tak­enly be­lieves she’s won the big prize. The cam­paign tagline, “There is no big­ger prize than shar­ing”, ex­tended into real life as the film was viewed more than six mil­lion times with­out paid me­dia.

The uni­fy­ing magic of these two ef­forts is how they’ve tran­scended film to be­come ex­pe­ri­en­tial mo­ments that their au­di­ences ea­gerly an­tic­i­pate. Each has cap­tured the imag­i­na­tion of its re­spec­tive coun­try and wo­ven its way into pop­u­lar cul­ture. By har­ness­ing an emo­tional con­nec­tion with peo­ple, these hol­i­day con­tenders pro­vide a mas­ter­class in im­mer­sive and in­te­grated brand com­mu­ni­ca­tions.

When it comes to mu­sic, fa­mil­iar tunes win the day this year, as re­worked cov­ers of clas­sics are du jour.

COCA-COLA modernised a fa­mous nurs­ery rhyme to help Egypt learn the names of its new foot­ball team. In

‘THE LINE-UP SONG’, an ab­surd group of se­ri­ous-look­ing men sing/chant this repet­i­tive an­them, drilling each syl­la­ble into the nation’s col­lec­tive con­scious­ness in ad­vance of the Africa Cup of Na­tions.

A sta­ple from the Rat Pack’s Sammy Davis Jr gets an up­date in ‘WE’RE THE

SUPERHUMANS’, a daz­zling spec­ta­cle of a film for CHAN­NEL 4’s cov­er­age of the Par­a­lympics. Star­ring a cast of more than 140 dis­abled peo­ple who are im­pec­ca­bly chore­ographed per­form­ing ex­tra­or­di­nary – and or­di­nary – feats, this an­them of em­pow­er­ment is fu­elled by a swing­ing cover of Yes I

Can, per­formed, of course, by The Su­per­hu­man Band, a 16-mem­ber big-band en­sem­ble of mu­si­cians with dis­abil­i­ties.

Cu­ri­ously, a few of our film con­tenders shared a com­mon dis­taste for physics – and, more specif­i­cally, grav­ity. In the vis­ually stun­ning ‘GRAV­ITY CAT’ for SONY IN­TER­AC­TIVE’S GRAV­ITY

DAZE 2, a Ja­panese stu­dent writ­ing her the­sis finds her world lit­er­ally turned up­side down by a mys­te­ri­ous fe­line.

Fi­nally, an ac­ci­den­tal en­counter with a vir­tual-re­al­ity head­set in­spires the name­sake star of ‘THE OSTRICH’ to dream of greater heights. To the con­ster­na­tion and con­fu­sion of its flock, the de­ter­mined bird trains night and day to reach the skies as El­ton John’s

Rocket Man pro­vides the per­fect sound­track. When our hero fi­nally takes flight, a su­per re­minds us that

SAM­SUNG makes “what can’t be made” so that we can “do what can’t be done”.

In an era of alchemy, the metaphor of lever­ag­ing tech­nol­ogy to achieve the im­pos­si­ble is an apt one to con­clude with. Above all else, while we’ll cer­tainly cel­e­brate in­no­va­tive col­lab­o­ra­tions and new part­ner­ships, let’s hope ju­ries this year choose to cham­pion the ideas that rep­re­sent our in­dus­try’s true magic and the fes­ti­val’s en­dur­ing pur­pose: alchemy that trans­forms a busi­ness’ for­tunes through sheer creativ­ity. Bonne chance!

“Nike’s 200m LED track of­fered run­ners an op­por­tu­nity to race against vir­tual ver­sions of them­selves”

Clock­wise from top left: State Street Global Ad­vi­sors, Chan­nel 4, Trans­port Ac­ci­dent Com­mis­sion, Sam­sung

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