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Screen Magazine - Index

Screen Magazine - Screen Magazine: Vol. 29, Issue 13 - Index

Cannes 2008
By Steffan Postaer, Chairman and Chief Creative Officer, Euro RSCG Chicago
One of the prevailing topics in Cannes, surprisingly, was
whether the festival is even justifiable. While there, I overheard
or participated in several conversations basically asking the
question: “Why are we here?” Funny how this ambivalence
is never brought up in the weeks before the festival. Methinks
we all want our toes in the sand before questioning why!
Many (myself included) have a love/hate relationship with
Cannes. We love the South of France. We enjoy seeing all
our friends and peers in the business, as well as meeting
new ones. And the quantity and quality of creativity from
around the world is, indeed, inspiring.
But – and it’s a big, hairy but – do we really need a weeklong
party in Southern France? Is that justifiable? A member of the
trade press told me he spent several nights wining and dining
with the same handful of people he sees every day at work.
When put that way, the festival does seem gratuitous.
But Cannes is also a celebration of what makes our business
so terrific in the first place: creativity. Here, we cannot
help but be reminded of that, and it’s a reminder many
in our business probably need. Which is why I was thrilled
to be joined by so many clients and members of our own
management teams. Doing exceptional work is a big deal.
Making it is one of the most rewarding “jobs” in the world.
Cannes is living proof.
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There was business being conducted
in Cannes – even if it was disguised
as revelry or covered in suntan
oil, deals were getting done…or
undone. Relationships were forged
between old clients and new
agency contacts and vice-versa.
Without naming names (sorry), I
found myself walking back to my
hotel with the CEO of a rival agency.
As it turns out, we were both meeting with the same client
but at different times during the week. Should have been
awkward, and yet, it wasn’t. Not as much as you’d think,
anyway.
True, one of us would likely have a better meeting than the
other, with different outcomes. Yet I didn’t feel like much of an
adversary, and either, I felt, did he. Maybe it was the bright
sunshine and warm temperatures, conspicuously absent
the first couple of days. More likely we both recognize that
sh*t happens in advertising, that all business is cyclical, and
that really there isn’t that much difference between the two
of our agencies or us.
Another view would suggest that the main competition
was up the street at the Palais. By my count his agency was
faring pretty well in its hunt for Lions – only fair then to go
after some of the game on his land!
Not sure I was in agreement over the
selection for Grand Prix of print here at
Cannes. The campaign for Energizer
batteries hailed from DDB South Africa.
Posters showed children engaging in
bad behavior toward their brothers,
sisters and other random souls, things
like painting the dog or spitting on
pedestrians from the rooftops. The
copy implored: “Never let their toys
die.” – nifty stories supposing a world in
which batteries run out.
Don’t get me wrong; the executions
were well done. Very well done. Maybe
even Gold. I got it and I liked it. But
was this the very finest print work in
the Festival or in the world? And is the
printed medium even the best place
to tell these stories? Full-page spreads
for batteries just don’t click for me.
Something seemed awry.
Mon Dieu! Altoids short-listed for films.
From Energy BBDO in Chicago, this work
is for a brand very near and dear to my
heart. Having created the “Curiously
Strong Mints” campaign in North
America and managed the creative
for 10 years, naturally, my emotions