Kim Thorp
Director, Assignment Group
I think Cannes is a slightly unusual beast. Its global haul of judges means that the print work that seems to survive best usually relies on the image for the idea, with minimal words and good art direction. Add a shock or surprise or a gag at the end — and the same often applies for TV.
Director, Assignment Group
I think Cannes is a slightly unusual beast. Its global haul of judges means that the print work that seems to survive best usually relies on the image for the idea, with minimal words and good art direction. Add a shock or surprise or a gag at the end — and the same often applies for TV.
A lot of great print work from Asia has traditionally had very strong art direction and craft skills applied, so it is in good standing for Cannes. I think the Land Rover print ad is pretty well made for Cannes. It's the sort of 'story in the pictures, not the words' that Cannes judges go for. It was also my personal favourite piece of print.
Nike posters might also do something — but it's a tough category. If presented well, the Yahoo 'Questions' campaign from Japan could do very well in the cyber categories. I hope they have entered it a bit more clearly than it was entered in Asia — we nearly missed it. Smooth E will be very interesting to watch. In my experience, Cannes is actually surprisingly conservative in its categories and judging — outside craft categories it will be interesting to see if this cuts through the constraints.
If I had any advice for future Cannes entrants, it would be to start avoiding the old tried-and-true categories and product types. Many of the entries this year were for products and services that have littered the award annuals for years — so, to win, you've almost got to beat all that has gone before. That's much easier to do in a category, or for a product or service not famous for great advertising.
Eugene Cheong
Regional head of copy, Ogilvy & Mather
These ads have already done well at One Show and D&AD and it's logical to assume they'll do the same in Cannes.
Nike, 'Run free' — I love this because it blurs the line between commerce and art. There's nothing not to get.
Nike, 'Wall' — This ad is up for a Gold Pencil at One Show, but didn't make much of a dent at the Media Spikes.
Sony PS2, 'Maze' — I have seen some really stunning PS2 work from TBWA\Paris, which 'Maze' will have to go up against in Cannes. My money is on 'Maze'. Land Rover, 'Direction' — This ad is great in the good, old-fashioned Bill Bernbach way. It sets up a puzzle. It involves the reader and makes him go: 'Why is the aborigine asking directions from the driver? Oooh, I see...' On the minus side, the photograph looks a bit soulless. Still, I think it has a chance at Cannes and I haven't been wrong since 1980, when I thought I made a mistake.
Greenpeace, 'Trees' — Another gem that missed out at the Spikes. Never mind, there's always Cannes.
The Economist, 'Razor' — At the One Show judging, Andrew Keller of Crispin Porter & Bogusky said it was one of the best Economist ads he'd ever seen.
Land Rover, 'Zebra Crossing' — Of the seven ads I chose, three are Malaysian. I've always thought that there was no difference between Kuala Lumpur and Singapore creatives, apart from confidence. Now there is no difference.
Todd McCracken
Regional CD, Asia-Pacific, Grey Global Group
Every award show has different results bar a few ads. What wins gold here may not even get finalists there and vice-versa. Ads that are written in English always stand a better chance, providing there's a great idea behind it, or unless it's completely visual. What won at Media and what will win at Cannes is no exception. The Media Spikes had a great set of judges and, of course, no one could judge for their agency or networks work. Same for One Show. So why did the Smooth E campaign clean up at the Spikes and not even scrape in as a finalist at One Show this year? Simply a matter of taste.
Smooth E — this campaign is, in my opinion, is the freshest work I've seen in ages. A beautifully simple idea with many details and layers. Everything about this campaign is just right. You need to see it to understand.
Bangkok Insurance, 'Tire' and 'Twister' — while the idea doesn't seem that new, the executions certainly are. Simple ideas flawlessly executed. You can't help but love 'em. Toyota, 'Jogger' — a truly charming idea done on the oh so familiar proposition of beauty. This one screams out to be a campaign.
Cheers Beer, 'Crab' and maybe 'Parking lot' — Well, I certainly celebrated it. Especially 'Crab'.
Transport Accident Commission (Australia), 'Haunted' — I love it, but can't say, cause it's from our lot. I'm looking forward to testing my prediction, but in the end, a new set of judges may, well... hey you never know.
Carol Lam
ECD, Cathay Pacific Central Team, McCann Erickson Hong Kong
Given that Cannes is something of a horse race, I've chosen to cast my eye over the best work by weighting it in the manner of a horse racing form guide.
Nike 'Run free' print campaign — Worked to lead on fence at 1,400m, 1L clear at 1,000m, headed at 800m, a neck clear again turning for home, looked vulnerable 200m out, but kicked on again inside final 100m for decisive win. Current odds: 1.2.
Smooth E TV Series — Started well. Set good pace on fence till straight. Broke clear 400m with 2Ls advantage. Cruised home strongly to win by big margin. Unchallenged and effortless. Current odds: 1.12.
Bangkok Insurance TV campaign — Broke well. Disputed lead. Gained slender advantage rounding home bend. Drew clear after straightening. Pushed out. Current odds: 1.1. Sony PS2 'Maze' — Jumped fairly and raced on fence in a prominent position. 3Ls behind the leader at the home turn and improved steadily after straightening. Switched out from behind the leader near the 200m mark and quickened nicely to clinch the win. Current odds: 1.3.
Japan Dairy Council 'Love letter' — Soon moved up along rail to fourth or fifth place, about 3Ls behind the pace. Took clear order to be 1L down turning in. Responded well final 300m to win going away inside 200m. Current odds: 1.4.
Sean Ganann
CD, digital, Saatchi & Saatchi Sydney
While the interactive work at this year's Spikes was, on the whole, fairly disappointing (great Asian online creative — we know you are out there, hope we'll see you entered next year) there were a few stellar pieces which both represent the best of the region and are a real chance for Cannes this year.
Of all that we judged, the piece that stands out most and will certainly go on to fare well internationally is the unique and stunning self-promotion site for Japan's Bascule. It's fun, interactive, exceptionally well-crafted and, without a doubt, was the best of the websites. It also satisfies both the big idea and technical merit requirements that can sometimes polarise interactive juries.
The engaging Singapore Navy site by Saatchi & Saatchi Singapore, with its unique navigation and involving, well-targeted content could be a dark horse.
Among the banners, the best chance internationally is Audi 'A gripping story' from Ogilvy Beijing. This simple series uses interactivity to create a strong user connection to the product story — a master-class in how to best use the humble banner.
Among the banner singles, Audi 'Get your hands on a real one', also from Ogilvy Beijing, is just clever, insightful and nicely executed enough to be popular with the jury. It's also easy to imagine the cheeky teasing of WD-40 'Glide', from Proximity Singapore, catching the judges' attention, but the execution could leave it short of metal.
