Posts Tagged ‘cannes’
14th September 14
Illustration for Griffin Farley’s Beautiful Minds, by Kate Moross, Breed.
Recently I’ve been perplexed why a debate still rages in the marketing ether around whether code can truly be creative, so I’m going to try to put a simple point of view down here and see how it goes.
Clue: if you’re already convinced the answer is yes, you can stop reading now.
One of the reasons I work in a creative agency is our shared ambition to, well, create. That word is loaded with meaning: to give birth to, to produce, to make, to originate something new. How that gets done inevitably changes over time, as tools and methods rise and fall. But mankind has been drawing pictures, writing and making music for millennia, and, it’s fair to say, we’ve got pretty damn good at doing all of the above. What’s more, art, copy and audio are so highly valued we don’t question them: all are taught in schools, with music, art and books sold in galleries, shops and gigs the world over.
In purely creative terms, of course code is in its infancy by comparison. And with the notable exception of gaming, what we’ve been able to create for mass consumption with code has lent itself first to utility: for example, allowing us to invent new forms of message transmission, news sharing sites and, indeed, provided us with new ways to distribute all that delightful art, copy and sound.
Yet I’m certain that the best new expressions of creativity are born of art, copy, sound and code, together.
Why? Because at the root of all creativity is a burning desire to create something original, to offer something better than the thing that came before. With code added to the creative canvas, we can achieve this in ways we have never experienced before. In other words, the opportunities to be original and different have exploded, whether you’re in film, fashion or fmcg.
So you may be reading this and thinking, ‘ah yes, more opportunities for originality, sure, but will it be any good?’. Can code move people to feel something, to make them laugh or cry, or suddenly to see a situation differently? Or is code still just about new ways to distribute the photography, writing, music and film we know and love?
I was a member of the Cannes Lions Cyber jury this summer where, sure enough, some of the best work showed a strong grasp of how to use digital to drive performance (where the definition of performance goes beyond ‘effectiveness’ to the pro-active planning, deployment and optimisation of brand activity – all enabled by technology).
By way of illustration, Volvo Trucks’ “Live Test Series” understood that YouTube’s algorithm rewards ‘total watched time with a channel’ and this helped the brand build a relationship with its audience over time. ‘Epic Split’ was a phenomenal piece of film content, but it was also the sixth in a series. Millions had watched other live tests and clicked to watch more, creating a virtuous circle where the brand earned the right to show up in more related videos. As Matt Locke puts it so succinctly some years ago now: “design for circulation, not distribution”.
However, the very best interactive work won this year because of something else in addition to well-drilled performance.
The likes of 24hoursofhappy.com for Pharrell, ‘Sound of Honda/Ayrton Senna 1989’ ‘Scarecrow’ for Chipotle and BBH New York’s own ‘Greatness’ for Playstation are simply great ideas, crafted with immaculate and loving care. Other examples include the creation of a credible, artificial child (‘Sweetie’) by Terre des Hommes Netherlands as part of its campaign to track down webcam paedophiles, and ‘Killing Kennedy’ for The National Geographic Channel which interweaves the stories of both Kennedy and his killer as one seamless and immersive online piece.
All break new ground in technological terms, all are ideas where code plays an essential part. But, above all, they evoke a powerful emotional reaction which creates a relationship with the brand. That, I would wager, is the very definition of creativity.
Three more examples of this in action if you’re looking for inspiration:
1. Digital Revolution exhibition @ Barbican in London, 3 July – 14 September 2o14
Includes astonishing displays like Umbrellium’s interactive 3D laser light field, ‘The Treachery of Sanctity’ by Chris Milk, as well as DevArt which incorporates four brand new installations commissioned by Google and Barbican to explore creative uses of code. If you’re in London, go see it before it closes in September.
Closer to home and mentioned before on this blog, Google’s ‘series of experiments to reimagine advertising’ including Burberry Kisses and most recently Nike Phenomenal Shot. The initiative’s inspiration comes from the creative revolution of the 1960s when art directors and copy writers were paired up together, having previously sat on separate floors of the print agencies where they worked. As they put it: “Today, we’re in the midst of a second creative revolution, driven by technology. Code is being added to the core creative process.”
3. New Revolutionaries (Decoded & BBH London event)
In late June this year we co-hosted with the good folks at Decoded an evening event at BBH London that we hope to repeat in future. It was designed to bring together and celebrate the polymaths and collaborators who are transforming their industries through creative uses of technology and vice versa; featuring installations and talks from the likes of Brooke Roberts, Yuri Suzuki, Framestore, Onedotzero and more.
Jeremy Langmead (newly appointed Chief Content Officer at Christie’s, ex-Mr Porter) opened the evening in conversation with Wired UK Publisher, Rupert Turnbull. Jeremy spoke openly about category naivety allowing you to break new ground, noting that any new leader has to be able to invite people with radically different skillsets into a room and to have the flair to multiply technical and creative skills together.
Framestore’s Mike McGee then told the backstories to their work on Gravity and Audrey Hepburn for Galaxy chocolate (the fact actors can now be essentially re-created led him to muse how it may become the norm in future to ‘licence’ their image for films created long after they’re dead…), as well as their astonishing ‘Ascend the Wall‘ work for Oculus Rift for Game of Thrones.
Above all, both speakers were interesting and interested. Whether you’re a creative-tech polymath or a collaborator capable of pulling different skills together, in many ways, it struck me, it doesn’t get much more complicated than that.
Jeremy Langmead (Christie’s) & Rupert Turnbull (Wired UK) in conversation at New Revolutionaries
Mike McGee talking through the creative technology involved in creating ‘Gravity’
5th July 11
An edited version of this post was originally published for Fast Company here.
I suspect 2011’s festival may be looked back upon as the year advertising and technology agreed to meet in Cannes and get married on the beach. Sure, previous years have seen tech co attendance (Yahoo! are regulars to the festival) but this year the commitment to one another was unprecedented, visible and visceral.
Unquestionably, the two industries have much still to work out about each other. Nonetheless, the re-branding of that bastion of old school ad cool, Cannes Lions, as a ‘festival of creativity’ this year signalled a broadening mindset. And Facebook’s VP of Global Marketing Solutions, Carolyn Everson, took a big step towards agencies, speaking compellingly about Facebook as a “platform for creativity” and the company’s desire to “stay small and empower agencies.” On the very same day, Eric Schmidt was on stage declaring that “hell has frozen over..we would never have thought there was value [in a Super Bowl ad].. We strongly believe advertising has value.” Importantly, the brand also picked up a pride of Cannes Lions this year, thus proving again that the appreciation flows two ways.
This shared acceptance spilled out beyond the seminar speeches and awards. Having done some early reconnaissance at last year’s Cannes, Google’s Tom Uglow came to the conclusion that “people want decent wifi and fairy lights”. A year later, surveying an array of geeks and ad types happily mingling on the beach at Google’s Creative Sandbox, it’s hard not to agree. The generosity inherent in designing a space like this (masterminded with great care by Google’s Head of Events, Amy Brown) for all comers is laudable, but more than this, the approach said loud and clear that the company values its relationship with the creative community and has something to show them about giving back; about being open, versus closed.
The ubiquitous bottles of Rose lined up on tables along the Croisette may be delightful, but finding uniquely useful, entertaining ways to enhance each other’s experience is a lot more fun and well, different. As John Hegarty’s speech on Friday spelt out, as humans we’re hard-wired to respond to difference (technical term is dishabituation, apparently): in short, “difference wakes us up”.
At Cannes this year, advertising and technology finally woke up to one another, properly and in public. I’m looking forward to 2012.
Google are a client of BBH.
1st July 11
Last Friday in Cannes, BBH’s own Sir John Hegarty gave the following speech co-authored with co-founder Nigel Bogle (Nigel was unfortunately unable to join him due to illness).
The premise of their speech is powerfully simple: growth needs space. Space needs difference.
Of course we could simply have put the video of Sir John’s speech here on the blog, alongside the slideshare. However, as @jeremyet puts it: ‘given the opportunity to celebrate the power of difference, we wondered whether we could develop something fast that would give the viewer of the filmed speech a different and enhanced experience. Cue vidazzl, which brings to life relevant keyword searches from across the web as you watch the speech.
We’re planning on making this a platform where anyone can upload a speech and display it in a, well, vidazzled version, but for now you can view Sir John’s speech from the Cannes Festival here and, of course, let us know your thoughts on the talk, on the presentation and on the difference.’
Gabor (Creative Technologist) adds a note on the choice of technology and the time frame:
Jeremy Ettinghausen – Creative Director
Gabor Szalatnyai – Creative Technologist
Nick Fell – Strategist
Felipe Guimaraes – Art Director
Lambros Charalambous – Copywriter
Adam Oppenheimer – Art Director
Joe Oppenheimer – Copywriter
Eric Chia – Head of Digital Design, Addictive Pixel
Keith Bone – Digital Designer, Addictive Pixel
Romy Miller – Team Director
16th June 11
Posted in Canneshttp://www.vimeo.com/21571373
With Cannes just a few days away it’s time to wish bon chance to all those striving for Lions. We’ll be keeping our eyes on the progress of all the Young Lions and our fingers crossed for the UK representatives in the Cyber category, BBH London’s Diego Oliveira and Caio Gianella, whose Unicef Wrapping Project is shown above.