TRENDS ● INSIGHTS ● ANALYSIS ● INTERVIEWS

CANNES LIONS FESTIVAL 2016CANNES, FRANCE

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CANNES LIONS 2016 ● INTRODUCTION

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Alex Brownsell, editor, M&M Global

STILL A BIG DEAL FOR THE GREAT AND GOOD

CANNES LIONS FESTIVAL 2016

Creativity 4From merging disciplines to the rise of technology such as AI and VR, the creative process is changing fast

Celebrities 9The likes of Will Smith and Gwyneth Paltrow give their unique viewpoints

Interview 12Dentsu Aegis Network’s Jerry Buhlmann provides his thoughts on the industry

Videos 14Featuring Microsoft’s Kathleen Hall, Havas Media Group’s Dominique Delport and Twitter’s Joel Lunenfeld

Top 10 Tips 19Festival newbie Anna Dobbie reveals 10 ways to ensure that you make the most of the glamorous and educational event

CONTENTS

The Cannes Lions festival is big. Like, stupidly big. Hundreds of millions of dollars are spent each year by advertising and media companies on awards entries, hotel suites, beach clubs,

yachts and the company of Hollywood celebrities, all in an effort to win favour and woo clients.

For some, it has got too big – Sir Martin Sorrell has warned that WPP may “take a breath” and step back from Cannes, and is working out how to make the best of a “very expensive exercise”. And yet, with the likes of Procter & Gamble’s global brand chief Marc Pritchard easily spotted strolling up and down the Croisette, it is hard to imagine any major media business walking away.

We went out with our camera crew to speak to the key players in Cannes, and to find out how this one-time celebration of traditional advertising creativity has morphed into something far more complex.

Thank you also to those who joined us on the merry ‘Sea Squared’ for the M&M Global VIP international boat party, and a glass or two of rosé – a great time was had by all.

Alex Brownsell Editor, M&M Global

CANNES LIONS 2016 ● CREATIVITY

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Click to see our film examining who takes ownership of creativity in media and marketing

Oh, I say, “thank you creativity.” Fear not – you are not about to be subjected to some

tuneless tribute to Swedish pop gods ABBA. Instead, it is worth reflecting on the scarcely concealed attempt at reassurance behind Cannes Lions 2016’s somewhat cloying strapline.

The traditional advertising agencies that have been coming to Cannes for decades, and continue to enter the festival’s awards en masse, feel increasingly resentful that their private, sun-kissed celebration of marketing creativity has been hijacked by brash technology and media salesmen in search of a quick buck.

The scale of investment by the media industry in Cannes is admittedly staggering. From the giant beach venues housing Google and Facebook, to the succession of ad tech-occupied yachts – not to mention the MailOnline’s vast battleship at the end of the Old Port – companies have become desperate to offer the best parties and most glamorous celebrity guests.

But, beyond the bling, is it also a sign that creativity is changing, and that these perceived imposters have a worthwhile contribution to make?

Kathleen Hall, corporate vice-president for global advertising and media at Microsoft, has witnessed the

change first-hand, having started her career at Young & Rubicam before moving client-side. She believes the idea of ownership of creativity is defunct in today’s market.

“I’m old enough to say I’ve lived through the transition, from when everybody was together – you had creative, media, data and insights in one agency – and then it all disaggregated, and now it feels like it’s all coming back together again, which I think is a great thing,” says Hall.

“It is divided, but while I’ve been [in Cannes] talking to Twitter or Instagram, you can’t speak of the medium, the measurement alone without the creative involved. It’s the intersection of those three that is going to make something amazing.”

Unilever’s Aline Santos, executive vice-president for global marketing at the FMCG giant, argues that creativity in marketing is not a static concept, and instead must evolve to match the preferences and behaviours of consumers.

“One of the most important phenomena we are facing today is the change in terms of the consumer journey,” says Santos. “In the past, consumer journeys were very linear, and it was very easy to create

“We are now at a point where you truly cannot take one away from the other, and to really understand how to build the content you really have to understand how that content is ultimately going to be distributed”Jon Gittings, MediaComCREATIVE

TENSIONSMarketing creativity is changing, and not to everyone’s liking.

Alex Brownsell describes the mood

on the French Riviera this year

awareness and to convince people to buy our products.

“Today, the journeys are much more complex. There are zillions of touchpoints everywhere. To build equity today is one of the most challenging questions you can ask of a marketer. Part of the answer is to understand where your consumer is, and how you can contextualise your message,” she adds.

Take an example like online video. The rising need for ‘silent video’ was a repeated theme in Cannes this year, with many experts – including Social@Ogilvy global managing director Thomas Crampton – pointing out that many consumers will encounter video in the workplace or in public, where audio is not possible, meaning that the narrative style must be adapted accordingly.

Distribution is becoming central to the question of creativity, agrees Jon Gittings, chief strategy officer for the Americas at MediaCom.

“There’s a reason we call ourselves a ‘content and connections’ agency, and it’s not because we want to make the ads. We are now at a point where you truly cannot take one away from the other, and to really understand how to build the content you really have to understand how that content is ultimately going to be distributed,” says Gittings.

“What we still see far too much of is print ads repurposed in Instagram feeds, for example. That is a very cheap, easy shot, but that type of behaviour still goes on far too much. No one agency really takes ownership of it, but whoever is making the content and whoever is building the distribution system needs to be working closer than ever.”

DYNAMIC CREATIVEMany purists consider technology to be anathema to the premise of human creativity, and believe it only distracts from those moments of private and collective inspiration behind the best marketing campaigns. However, a

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Cannes, Kevin Kelly – the co-founder of Wired and a respected technology expert – insists that brands and agencies should not be afraid of “making things smarter […] in a different way than humans are smart”.

“AIs think differently from us,” says Kelly. “We’ve been hearing a lot about AI, and there is a tendency to think of it in a cinematic Hollywood sense of a being that is like a human, but maybe even superhuman, and that is then going to kill us. We need to get that idea out of our heads. It is a little more boring, in a sense, and a little more fundamental.

“There will be certain roles and jobs that will disappear, but there will be far more new roles and jobs created that we find difficult to imagine right now. That will be generated by the bots and AIs enabling us to do things we haven’t done before.”

There may be little agreement on the future of creativity, but all the evidence indicates that the old world of ad agency ownership of the creative process is fading from view. The next time Cannes Lions chooses to say ‘thank you’ to creativity, it may be expressing its gratitude to data sets, algorithms and AI bots, as well as those clever people clinking glasses of rosé in the sunshine.

growing counter-argument is building in favour of the idea of data enhancing creativity, making personalisation more possible.

“We’re really trying to stress that there is data that we can use and share with our advertisers to help them be smarter about what kind of creative they should be running,” says Tim Mahlman, the newly appointed global president at AOL Platforms.

“If you think back to what Cannes was, it was a celebration of the creative side within the agencies, but I think creative is now held mutually accountable to creative shops but also the companies they partner with.”

This is resoundingly echoed by Slavi Samardzija, global chief executive officer of Omnicom Media Group’s data and analytics arm Annalect.

“What is very unique about this new type of data is that it is very behavioural. It is very rich in texture, and gives us a huge opportunity to unlock the strategic insights. As an industry, we have focused more on the tactical application of data, but the data has the richness to be able to drive those strategic and transformational ideas for our clients,” says Samardzija.

The concept of ‘dynamic creative’ – using audience data to amend and tailor ads – was a popular subject on the Croisette, as explained by Xaxis APAC chief executive Michel de Rijk: “We now have the ability to give that feedback earlier into the creative process, and make these adjustments during a campaign.

“That is one of the things we haven’t done proactively enough in the industry. We used to create a set of creatives and shoot them over to the media agency, and they would just let it go.”

Another form of technology exciting those with an eye on the next big thing is virtual reality (VR). A flurry of VR-related buzzwords – from ‘mixed

reality’ to 360 video – dominated conversations between publishers and agencies, and brands are getting ready to dip their toes into this new form of media.

Google’s EMEA director of brand innovation Debbie Weinstein tells M&M Global: “We’re incredibly excited about VR. It’s the ultimate expression of telling immersive stories […] and what is exciting about it now is that it is starting to get the reach and the scale, as well as delivering that impact.”

Weinstein points out recent projects by car marques such as BMW and Volvo to allow consumers to not only watch the “windy turn down the mountain” but also feel a physical part of that experience.

‘BOUNDED CREATIVITY’An altogether more drastic question – and more troubling for some – is that of the growing prominence of artificial intelligence (AI).

That technology and data can enhance creativity is growing in credence; but could machines one day entirely replace people in the creative process?

There were no shortage of experts on hand to ask about AI, including Martin Ford, author of oft-cited book Rise of the Robots: Technology and the Threat of a Jobless Future. Ford believes this advanced form of automation will have a “significant impact” on the advertising industry as we know it, especially for more basic forms of creativity within templates.

“Most people say that creativity is something that is uniquely human, and that it ought to be safe. Yet, within advertising, there are many good examples of what you might call ‘bounded creativity’ – creativity that has clearly defined boundaries – and within those boundaries we are seeing algorithms that can undertake creative takes,” says Ford.

“They can generate untold combinations of elements, and then test that against actual data to see how people are responding to that. And that is something that a person could obviously never do, but a machine can.”

However, before we all flee to the hills in panic about malevolent AI creatures stalking the streets of

“There will be certain roles and jobs that will disappear, but there will be far more new roles and jobs created that we find difficult to imagine right now”Kevin Kelly, Wired co-founder

“We’re incredibly excited about VR. It’s the ultimate expression of telling immersive stories. It is starting to get the reach and the scale, as well as delivering that impact”Debbie Weinstein, Google

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CANNES LIONS 2016 ● CELEBRITIES

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Iggy Pop, Gwyneth Paltrow

and Will Smith were among the A-listers

providing insight on media and

marketing in Cannes

CANNESCOUNSELFROM THE RICH AND FAMOUS

“As long as people keep sticking out

their finger and pressing ‘skip

ad’ then things will change”

Iggy Pop

The Cannes Lions international advertising festival prides itself on sprinkling some stardust throughout the

event, with celebrities providing their two cents (which seems very little, considering their hefty pay checks) on a range of key industry talking points.

While some may argue that these icons have little to contribute to the world of marketing and media, it is hard to refute that their unusual career paths have provided them with some unusual insights along the way.

M&M Global has sifted through the tedious musings of Z-listers to pick out the more insightful and entertaining thoughts of the Cannes glitterati.

IGGY POP: Skipping adsThe Stooges rock legend Iggy Pop emerged as an unlikely spokesman on the topic of skipping ads, when taking to the Palais stage with former Grey London chairman and chief creative officer Nils Leonard.

“As long as people keep sticking out their finger and pressing ‘skip ad’ then things will change,” said the rocker, in a typically topless pose. “That’s like voting, isn’t it? Except it’s weird that in democracies you’re not really supposed to vote against anybody.

“You can’t go into a vote and just go against someone, you know, you have to go into a booth and vote for

CANNES LIONS 2016 ● CELEBRITIES

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“You have to just constantly be an open conduit for ideas”Mark Ronson

records, when you think of Led Zeppelin or Marvin Gaye, that have this arc to them, we get 10 pop singles, but for me it’s just going in and you have to just constantly be an open conduit for ideas.

“Even the most bullshit idea that someone might have and just come in tinkering on a guitar, you have to always be ready to go ‘Oh maybe there is something magic in that’.”

DAVID COPPERFIELD: Integrating emotionIllusionist David Copperfield arrived in Cannes to deliver a session sharing ‘The art of illusion in modern brand narrative’. And he said that magic came very easy for him.

“I’d go to the library – remember libraries, by the way? I would go to the library and take out the book on magic and I would read the effect, what the audience would see and I would refuse to read the method. I would force myself to try to think of a way of trying to do the exact same piece of magic with my own way of doing it, so I started inventing magic tricks.”

This method of learning magic led to Copperfield inventing tricks that were in magic encyclopaedias by the time he reached the age of 12, and he was teaching magic at New York University at 16. However, his real passion was movies, stories and Broadway shows.

“I tried to combine the magic that I was good at with everything else that I wasn’t good at, every piece of theatre that I had to learn, how to light things, how the music would happen, all the details it takes to make something emotionally relevant,” he said.

WILL SMITH: Social media and the global soapboxLooking at the effect of social media on the movie industry, actor (and self-proclaimed marketer) Will Smith said that instant online reviews have led to huge change in the film industry.

“Back in the old days, it was Wednesday before people knew your movie was shit – now, ten minutes in, people are tweeting ‘Yo! It’s shit, don’t come!’ It’s like a new idea that we have to make good movies – it’s deep.”

He added: “The idea of smoke and mirrors in marketing and sales, it’s over – people are going to know really quickly and they’re going to know globally whether your product is keeping its promises.”

Smith believes that the power is now in the hands of the audience: “As someone who wants to market a product globally, I need to be in tune with their needs and not try to trick them into seeing Wild Wild West,” he said.

someone – but ‘skip ad’ is a negative vote. That’s pretty heavy.”

GWYNETH PALTROW: Privacy in the digital ageBBC Worldwide recruited Hollywood A-lister Gwyneth Paltrow to discuss the new forms of media, and how they affect people’s interactions and the sharing of information.

“There’s an aspect of it where you’re supposed to open your life and an aspect that you want to keep private; I think it’s trial and error,” Paltrow told BBC interviewer Stephen Sackur.

“I think there are things that you want to share, there are things you should put into the world if you want to, and things that you should hold back if you don’t, and I try to strike the right balance. But also there is an aspect of social media that can really propel forward in your business life what you are trying to do, whether it’s this TV show or film or a business.”

WWE STARS: The need for a great productAccording to WWE chief brand officer and professional wrestler Stephanie McMahon, the wrestling company’s success, brand growth and sustainability are really down to three main things.

“It’s content first, you need to have a great product,” said McMahon, who was joined in Cannes by wrestling superstar John Cena. “There’s so much different content out there, what is it that makes people come to your brand to watch what you do.”

The second thing is creating a content ecosystem: “We aspire to give our audience a creative experience that’s worthy of their passion across any device, any platforms they can connect, wherever they are, whenever they want.”

The third point, according to McMahon, is to have purpose and value: “At WWE, our mission is to put smiles on people’s faces – whether we do that through entertainment

and programming or we do that by giving back to the community.

“The audience today is very savvy, they know when they’re being marketed to so it’s important for you to go that extra step, go that extra mile, create content so that it integrates in a way that is entertaining to them and still relates to the brand.”

MINDY KALING: Brand integration“If it can work organically then it’s a wonderful thing,” said actress Mindy Kaling, star of the US version of The Office, on integrating brands into content.

In her hit TV show The Mindy Project she portrays a materialistic New Yorker with disposable income who “loves consumer items and what things say about her”.

“She’s actually the perfect character to have something like a Lexus and be excited about it and she thinks certain things elevate her status – and even

not just with her but with other characters, they’re into their devices and phone cases and things, so it seemed easy to have integration.

“Selfishly, integration is what pays for so many of the nice things that we get to do in the show, that’s why the show looks so beautiful, that’s why we get to use Bruce Springsteen songs, because we have the money to do that, so I wouldn’t go overboard, but I also think it’s been such a wonderful, useful tool.”

MARK RONSON: The death of long-form music contentBritish producer and recording artist Mark Ronson was recruited by Spotify to address the Cannes crowd about how the music industry is changing.

“The way a lot of music gets made today, especially in pop music, you get artists or writers who have one day in a studio and they go in and they try to write a hit, and I think that’s part of the reason why there aren’t so many great full-length records that you really celebrate,” he said.

These days, Ronson said, music has become more of a singles industry. “Basically, instead of these great

“There is an aspect of social media that can really propel forward in your business life what you are trying to do, whether it’s this TV show or film or a business”Gwyneth Paltrow

Will Smith: Said instant

online reviews have changed

the movie industry

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Agencies are still best-placed to offer advertisers impartial expertise and creative marketing solutions, according to Dentsu Aegis

Network boss Jerry Buhlmann

The weeks and months leading up to the Cannes Lions festival had been a bumpy ride for the world’s agencies: huge levels

of media account movement, rebate controversies from the ANA report in the US, and Brexit-bothered uncertainty in the markets.

Not that you would know it talking to Jerry Buhlmann, global chief executive at Dentsu Aegis Network.

Looking relaxed in a polo shirt and shades at the group’s ‘Beach House’, Buhlmann is quick to remind M&M Global that his group has grown three times as quickly as its rival networks, ending 2015 with organic growth of 9.4%. “Momentum is critical, and that is a great place to be in,” he says.

Despite the claims of digital media and ad tech firms, Buhlmann insists that agencies remain a marketer’s best friend – so long as they adapt to the new reality of the digital economy.

“In the context of this market, innovation is critical to success for brands. The only certainty over the next five years is the growth of the digital economy. Clients have to build digital economy businesses if they want to thrive and succeed,” he says.

“We’re the only holding company with a vision, innovating the way brands are

built. We see some big changes in the market, and some big opportunities. Being high growth and low legacy, which I think we are, gives us an advantage,” he adds, referring to the 46 acquisitions Dentsu Aegis Network has made over the past 18 months.

Buhlmann refutes the suggestion that clients would be better served by partnering with those that own the technology and data in the first place.

“It’s a question that I hear quite a lot,” he admits. “We are very keen to get our ad tech media partners to support us, and to help us. They are very important, and very scaled. We have growing partnerships with them, but the important thing is that they are leveraged partnerships.

“We spend a lot of money with them, which means we can use their scale and capabilities to support our clients.

“Also, the reality is they are media vendors. I have a lot of respect for Google: they are hugely successful, and they are great partners of ours, and I think they are amazing. But, in the end, as a client if you go and see Google, they are going to recommend more Google.

“Agencies have a role to disseminate the best routes, the best channels and the best creative solutions, because

consumers don’t just use Google, or Facebook, or Amazon.”

Buhlmann reveals the network generates “around a third” of revenue from content creation and technology services, and says he is determined to oversee the creation of a new form of creative agency proposition, one linked much more closely to the performance of client brands.

“We’re keen on new-model creative businesses, rather than trying to recreate the old advertising model that existed many years before.

“The reality is that consumers are changing, and we have to reflect those consumer changes,” he says. “Trust in brands and advertisers used to be based on beliefs – you would create a belief around a brand promise – but nowadays people don’t trust in beliefs, they trust in experiences. What do their peers say? What is the utility of that brand?

“Creativity is about creating immersive experiences, and immersive experiences are much more valuable than one-way messages. And that is very much a brand commerce approach – every time you interact with a brand as a consumer, you should be able to buy it. It is a big challenge but it is a great opportunity,” he adds.

Click to see Jerry Buhlmann speaking to M&M Global in Cannes

“Creativity is about immersive experiences”

JERRY BUHLMANN

CANNES LIONS 2016 ● VIDEOS

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CANNES LIONS 2016 ● VIDEOS

Microsoft’s corporate vice president for global advertising and media Kathleen Hall joined M&M Global’s Anna Dobbie on the ‘Bing boat’ at Cannes to talk about the lack of diversity in the industry, and why she expects virtual reality to become a key marketing tool over the coming years.

Havas Media Group global managing director Dominique Delport explained the launch of a rather unusual product – a ‘connected couch’, no less – at the Havas Cafe in Cannes, and outlined why marketers must be prepared to embrace new technologies and channels.

KATHLEEN HALLMicrosoft

DOMINIQUE DELPORTHavas Media Group

CANNES LIONS 2016 ● VIDEOS

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CANNES LIONS 2016 ● VIDEOS

PHD Media worldwide head of strategy Mark Holden and Wired co-founder Kevin Kelly joined M&M Global editor Alex Brownsell to chat about the impact artificial intelligence will likely have on media and marketing – but why the industry should not fear its arrival.

Twitter vice president of global brand strategy Joel Lunenfeld met with M&M Global managing director Jeremy King to discuss the growing potential of ‘live’, and how the social network is looking to change the way it tells its own story.

JOEL LUNENFELDTwitter

MARK HOLDENPHD Media

KEVIN KELLYTech expert

CANNES LIONS 2016 ● TOP 10 TIPS

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A ll year I have been living in a perpetual state of panic about my first Cannes trip. I have covered my fair share

of international events, but whenever the Berocca loses its fizz, the same familiar warning crops up: “You think this is bad – wait ‘til Cannes!”

Over the months, I have built up a hellish vision of sleep deprivation, braying adlanders and heat stroke. So, imagine my surprise that the reality can actually be quite fun, as long as you abide by these 10 Cannes commandments…

1 ROAM IF YOU WANT TO Make sure you have a working phone, set up with data to roam wild and free. Unfortunately, I was ironically mobile-less at the smartphone-loving event, due to the BT Mobile help desk mistaking my request to buy a data roaming bundle for me asking to deactivate my SIM card (hey, we’ve all been there, right? No..? Oh…). Use a decent mobile provider and roam without limit.

2 DON’T FORGET THE SUNSCREENIt’s pretty hot in the South of France. Keep in the shade, drink water, pack your Ray Bans and whack on the factor 50 to avoid heatstroke.

3 COMFY FOOTWEARWhile it’s tempting to succumb to the glamour of your surroundings and pop on some heels, remember you will be walking a long way on mixed terrain – cobbles, beaches, wind-buffeted yachts – so keep your comfy pumps and sneakers close to hand.

4 FOOD FOR THOUGHTRosé may flow freely but food is less easy to find. Remember to eat and keep some snacks in your bag just in case.

5 PACE YOURSELFDon’t peak too early or you will definitely regret it sooner rather than later. I say this from experience – on Tuesday I had to lie down because my brain

was trying to leak out of my head, which is not what you need on the second big day of the festival.

6 MIX IT UPCannes may have started as an agency festival but now representatives from all areas of the industry attend. Try to mix up your experience with meetings on the programmatic yachts at one

end, the agency hotels in the middle and the big digital media firm beaches at the other end.

7 BE SELECTIVEIf you can meet someone at home, then do that instead. Save your precious time meeting people from further afield who are harder to pin

down. Your slots will fill up quickly so use them wisely.

8 DON’T FORGET THE PALAIS

There’s so much to do that many people never make it in to see any sessions in the main conference venue, which is a shame. I saw some really interesting talks and was quite gutted to miss several others – try to fit in at least one speaker if you can.

9 GET A SELFIE WITH A CELEBThey’re everywhere! Make your friends (who are already pretty convinced that working in media is one big jolly) super jel with a snap with an A-list star. I narrowly missed out on grabbing a photo with Gary Barlow – and am still mentally kicking myself.

10 TAKE IT ALL INWhile life can get hectic, make sure you sit back and appreciate that there are worse places to conduct a meeting than on a beach or a yacht. The sea is beautiful, the sky is beautiful, the sand is beautiful… now stop daydreaming and get back to work.

DIARY OF A CANNES VIRGIN M&M Global reporter Anna Dobbie gives her top survival tips for the Riviera town

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