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This was my first time judg­ing En­ter­tain­ment for Mu­sic and only the sec­ond year of the cat­e­gory at Cannes. In that sense, the cat­e­gory is still evolv­ing. But, over five days, my un­der­stand­ing of the role of artists and com­posers in the creative process also evolved. We were blessed to have a jury that in­cluded mostly artists, com­posers and mu­sic com­pany ex­ec­u­tives. It was bril­liant to see the role of mu­sic for brands through their eyes. In­ter­est­ingly, we all agreed on a sim­i­lar prin­ci­ple – the mu­sic must serve the brand and the brand must serve the mu­sic. Only when those two mis­sions aligned did we truly find magic. One of the big­gest de­ci­sions we made was not to give two Grands Prix like the jury did last year. Our feel­ing was that choos­ing one Grand Prix from the two mu­sic video cat­e­gories and then an­other from all work across the re­main­ing 22 cat­e­gories seemed un­fair. As one ju­ror said: “The cat­e­gories are all equal. All of those peo­ple who lived or died cre­at­ing the work de­serve the same con­sid­er­a­tion.” So, in choos­ing the Grand Prix, we looked at the award as a whole and even­tu­ally chose “Orig­i­nal is never fin­ished” from Adi­das. Not only was it an in­cred­i­bly com­plex and wellorches­trated cam­paign with mu­sic at its heart, it spoke to the very manta of Cannes – orig­i­nal is never fin­ished. We felt that it per­fectly summed up the essence of En­ter­tain­ment for Mu­sic – brand, cre­ativ­ity and with mu­sic at the core.

Grand Prix: Adi­das ‘Orig­i­nal is never fin­ished’ by Jo­hannes Leonardo

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