Eleftheria Parpis, Adweek creative editor

Friday, June 20, 2008 - With only one day left of the festival, the talk has turned to Saturday night, when the Film, Titanium and Integrated Lions are awarded.
  The chatter about Film, which used to be the main event, has taken a backseat to Titanium and Integrated. There are some interesting choices in Film this year, the most controversial being Fallon’s Cadbury “Gorilla.” Is there a big idea there connected to chocolate, or is it just an entertaining clip that can work for just about any brand with a joy promise to fill? Or, since it was a viral hit, as well as broadcast, will the jury prop it up because of its cross-media weight? But Dove’s “Evolution” already did that last year. Maybe the Film jury will go back to classic storytelling values, as seen in spots like BBDO’s “Stork” spot for Monster.
  The bigger question is, Will there be a Titanium Grand Prix? Is there a game-changing idea this year? And where is Halo 3, a Best of Show darling at earlier shows that has been noticeably absent from the Grand Prix circle this year—so far. It has won a gold in Promo and a silver in Cyber, but does it stand a chance for Integrated or Titanium? It has to get recognized for integration, but I don’t think it’ll get the elusive Titanium Grand Prix, which last year went to the Burger King Xbox video games. Juries are unpredictable, and sometimes by the time Cannes rolls around, the favorites from other shows take a bit of a hit. Judges can’t help but get tired or bored of the work that has already been anointed by other juries, and they want to make their own statements about what is great work. Even BBDO New York’s HBO “Voyeur” might suffer because it’s already done so well this week.

  U.S. agencies have 14 of the 33 entries shortlisted in Titanium & Integrated, with the familiar players fighting it out here: Crispin Porter + Bogusky with its Burger King “Whopper Freakout” and “Simpsons” campaigns and Coke Zero “Coke vs. Coke Zero”; BBH with Axe’s “The Game Killers” and “Bomchickawahwah”; and Droga5 with “Honeyshed” and its “Million” mobile educational program for the New York City Department of Education. Titanium was started in 2003 by Dan Wieden to honor category-defying work and point a way to the future, and it could take on any shape and size. Trouble is, the category has been muddled with the addition of Integrated three years ago, so now any campaign that uses three or more media is entered in the category. Seems like that’s the norn these days, so why judge it alongside the Titanium entries? It’ll be interesting to see which way the jury goes this year. Will they give a top Titanium prize? And will it go to an idea that can clearly be identified as advertising? Or will it be one of the hybrids that are still struggling to find their place in mainstream advertising?

Wednesday, June 18, 2008 - Traveling to Cannes is always a trip. The direct flights from New York are usually packed with festival attendees, so if you're not in the mood to start talking the talk, best to take a connecting flight (but count on not seeing your luggage for a couple of days). Every day another throng of delegates arrive, complaining about their travel horrors. My flight was stuck on the tarmac at JFK for five hours, but a few fun new friends helped keep the anxiety in check. But it all quickly comes back with the realization that cell-phone service here is as unpredictable as the wait staff at the Carlton Terrace; you may get what you want, but it depends on the mood.
  Three days into the festival, the delegation is buzzing about the winners, and so far the juries have made selections the delegates seem to appreciate. HBO's "Voyeur" is racking up the prizes, winning two Grand Prix that will surely give BBDO New York a leg up for Agency of the Year honors. And there's still Digital, Film, Titanium and Integrated to go.
  The discussions surrounding the categorization of the work are getting louder this year, with many arguing that despite attempts to address industry changes, the award-show system is increasingly outdated in its myopic assessments of the work. Lots of confusion over what's what—or what should be what, should I say. Is it a direct ad? A promo ad? Is it an ad at all? Maybe the definitions will soon be irrelevant. But not this year.

—Eleftheria Parpis is Adweek’s creative editor.

June 20, 2008 | Permalink