Cannes Digest 2013
Published on Nov 18, 2015
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MORE DECKS TO EXPLORE
PRESENTATION OUTLINE
CANNES DIGEST 2013
BY ZOLTÁN HAVASI, HEAD OF PLANNING, ISOBAR HUNGARY
THIS PRESENTATION IS NOT ABOUT ...
... THE AWARD SHOWS
... OR THE AD LEGENDS WE MET
... OR THE PARTIES WE WENT TO
BUT THE MASSIVE LEARNINGS
FROM 15 SEMINARS, 6 WORKSHOPS, 2 FORUMS AND 1 MASTERCLASSES
THIS IS WHAT WE LEARNT:
DEFINE A GREAT PROBLEM
THERE IS ALWAYS ONE BEHIND EVERY GREAT IDEA
MOONSHOT THINKING
AIM TO SOLVE A GREAT PROBLEM, EVEN IF THERE IS A SLIM CHANCE IT BEING FIXED
LOOK FOR THE PAINFUL MOMENTS
IN OUR DAILY SCHEDULE
Hyperislad's workshop provided inspiration on how to find great problems.
See the results here:
http://savinggreece.hyperisland.com/
See the results here:
http://savinggreece.hyperisland.com/
MEDIA IS WHERE PEOPLE AND IDEAS MEET
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FIND A MEANINGFUL IDEA
THAT ENGAGES THE AUDIENCE AND IS RELEVANT FOR THE BRAND
IN THE PAST THE MESSAGE DEFINED THE IDEA
TODAY IT IS WHERE BRANDS' AND PEOPLE'S INTENTIONS MEET
MAKE WOMEN REALISE THEY'RE MORE BEAUTIFUL THAN THEY THINK THEY ARE
THE ORIGINAL BRIEF FOR DOVE SKETCHES WAS:
MAKE YOUNGSTERS TALK ABOUT RAIL SAFETY
THE ORIGINAL BRIEF OF DUMB WAYS TO DIE WAS:
WE'RE NOT MAKING IDEAS ANYMORE
BUT RATHER BUSINESS MODELS
UNLEASH YOUR CREATIVITY
YOU ARE NOT EXPLORING ANYTHING NEW
IF YOU KNOW EXACTLY WHERE ARE YOU GOING TO END UP
CREATIVE ALCHEMY'S TOOLS
TO UNLOCK THE UNKNOWN PICK ONE OF
Kentaro Kimura (Co-CEO, Executive Creative, DirectorHakuhodo Kettle) pointed out that our conscious is like a city and our unconscious is like a forest.
Cities are mapped, known, safe while forests are unknown, dangerous, unpredictible.
Initially our mind was unconscious but over time our conscious took over.
Advertising is an activity to change unconscious desires to conscious ones through words and visuals.
Cities are mapped, known, safe while forests are unknown, dangerous, unpredictible.
Initially our mind was unconscious but over time our conscious took over.
Advertising is an activity to change unconscious desires to conscious ones through words and visuals.
CREATIVITY IS A BATTLE
BETWEEN HABITUAL AND EXPLORATIVE THINKING
Landor's work shop pointed to the same problem. We're trapped to our own perceptions. Our imagination starts as a perception: we see something we wanted to see. These perceptions are governed by our past experineces.
There are four ways to disrupt these perceptions:
- challenge conformity
- radical repurposing
- invite constraint
- disparate pairings
There are four ways to disrupt these perceptions:
- challenge conformity
- radical repurposing
- invite constraint
- disparate pairings
CREATIVITY COMES FROM PRESSURE
YOU MUST GET THE BRIEF PRECISE AND INSPIRING
TO TAP INTO AND GET THE MOST OF CROWDSOURCED AD CREATION
MAGIC IS SCIENCE DONE IN AN ENTERTAINING WAY
THE EYE SEES EVERYTHING
SO ONLY THE BRAIN CAN BE FOOLED
CREATIVES ARE FRUSTRATED
THEIR JOB ISN'T LIMITED TO MAKING THINGS LOOK NICER
Creative's muscles are at better use in innovation.
IDEAS ARE HARD TO SELL
IT'S EASIER TO BUY NUMBERS THAN IDEAS
YOU BETTER BUILD UP YOUR ARGUMENT BEFORE GETTING TO THE CREATIVE
Patrick Collister's (Editor,
Directory Magazine & Resource) work shop revealed the four points of conflict and how to handle them.
1) Left-Brain v Right Brain -- Some people are not wired to be able to make the connection
2) Abstract v Concrete -- Sometimes you can be too damn clever. Read the brief more closely.
3) The Wood v The Trees -- Meaning and expression. Present the idea rather than the execution.
4) Competing Objectives -- What you want to say and what your client wants to hear are not the same. Empathise. Say yes rather than no, but.
Directory Magazine & Resource) work shop revealed the four points of conflict and how to handle them.
1) Left-Brain v Right Brain -- Some people are not wired to be able to make the connection
2) Abstract v Concrete -- Sometimes you can be too damn clever. Read the brief more closely.
3) The Wood v The Trees -- Meaning and expression. Present the idea rather than the execution.
4) Competing Objectives -- What you want to say and what your client wants to hear are not the same. Empathise. Say yes rather than no, but.
GOOD LISTENERS MAKE BETTER SPEAKERS
The workshop of http://swimprogram.ca/ was a weird but useful experiment. All we had to do is to listen in silence to our partner's story without even thinking about judging or reflecting to.
CLIENTS SHOULD FEAR MEDIOCRE IDEAS
THE ONES THAT HAVE NO EFFECT AT ALL
KEEP IT SIMPLE
WE DO STUFF AROUND STUFF
OR SOMETIMES WE DO OUR OWN STUFF
Andrew Deitchman's (Co-Founder, Partner, Mother NY) bold statement is out of doubt.
ASK NOT WHAT WILL CHANGE IN THE FUTURE
BUT WHAT WILL REMAIN
KEEP UP YOUR PASSION
NEVER FORGET WHY YOU CAME TO THE BUSINESS
WE SNACK CONTENT
THE PATTERNS MAY VARY ACROSS GENERATIONS BUT THE EMOTIONS ARE THE SAME
TALENT ALONE IS NOT ENOUGH
HAVE TO HAVE THE COURAGE TO FIGHT FOR YOUR WORK
FORGET BIG DATA
MEDIA IS WHERE PEOPLE AND IDEAS MEET
GIVE PERSONAL DATA MEANING
AND TURN THE QUANTIFIED SELF INTO QUALIFIED
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HOPES, DREAMS AND INSPIRATION
THE SEARCHBOX IS WHERE PEOPLE PUT THEIR
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WHY ASK IF YOU CAN MEASURE?
EKMAN'S ALL SIX BASIC EMOTIONS ARE TRACKED VIA REALEYES' AUTOMATED FACIAL CODING SYSTEM
LEARN TO READ DATA
AND TURN IT INTO STORIES
At 360i's work shop we turned data into stories using the seven story archetypes:
http://socialmediatoday.com/tommyismyname/383348/7-story-archetypes-and-how...
http://socialmediatoday.com/tommyismyname/383348/7-story-archetypes-and-how...
CREATIVE ALCHEMY'S TOOLS
TO UNLOCK THE UNKNOWN PICK ONE OF
TECH IS NOT THE ANSWER
CREATIVITY IS A BATTLE
BETWEEN HABITUAL AND EXPLORATIVE THINKING
GOOD TECH IS NO EXCUSE FOR A BAD IDEA
THE RIGHT TECH IS THERE TO BRING THE RIGHT IDEA ALIVE
AND NOT VICE VERSA
CREATIVITY COMES FROM PRESSURE
YOU MUST GET THE BRIEF PRECISE AND INSPIRING
TO TAP INTO AND GET THE MOST OF CROWDSOURCED AD CREATION
EMOTIONS MAKE ENGAGEMENT
TECH IS THERE TO HELP
YOU NOT EXPLORING ANYTHING NEW
IF YOU KNOW EXACTLY WHERE ARE YOU GOING TO END UP
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NEW TECH NEEDS TIME TO EXPERIMENT TO BECOME ARTISTS' TOOL
WHEN THE CAMERA WAS INVENTED PAINTERS THREW THEIR BRUSHES AWAY
MAKE YOUR IDEA GO VIRAL
INSTINCT REACTIONS AND EXPECTED SOCIAL VALUE
ARE THE TWO KEY FACTORS THAT MAKES ANYONE SHARE
Psychological Responses: happiness, exhilaration, awe, warmth, hilarity, contempt, disgust, sadness, pain, pride, nostalgia, surprise, knowledge, shock, confusion, arousal, fear, anger.
Social Motivations:
shared passion -- opportunity to connect, social IRL -- help to socialize offline, social utility -- relevant or valuable to friends, social good -- for a good cause / want to help
zeigeist -- current trend or event, kudos -- demonstrate knowledge / authority; first to tell, attention seeking -- get a reaction; self expression -- says something about me
shared emotional experience -- strong emotional effect to be shared.
Social Motivations:
shared passion -- opportunity to connect, social IRL -- help to socialize offline, social utility -- relevant or valuable to friends, social good -- for a good cause / want to help
zeigeist -- current trend or event, kudos -- demonstrate knowledge / authority; first to tell, attention seeking -- get a reaction; self expression -- says something about me
shared emotional experience -- strong emotional effect to be shared.
EMOTIONS AND ENGAGEMENT WILL RESULT IN IMPACT
WE SNACK CONTENT
THE PATTERNS MAY VARY ACROSS GENERATIONS BUT THE EMOTIONS ARE THE SAME
WHY ASK IF YOU CAN MEASURE?
EKMAN'S ALL SIX BASIC EMOTIONS ARE TRACKED VIA REALEYES' AUTOMATED FACIAL CODING SYSTEM
Watch BeOn and RealEyes full seminar here:
http://www.youtube.com/watch?v=cEVhADbBJF0&feature=share&list=PLNoW8IoHWYZz...
http://www.youtube.com/watch?v=cEVhADbBJF0&feature=share&list=PLNoW8IoHWYZz...
GETTING PEOPLE TO WATCH A VIDEO IS ALL ABOUT DRAWING OUT EMOTIONS
GETTING THEM TO SHARE IT IS ABOUT THE SENDER'S PERSONALITY
Further reading on Thales S. Teixeira's (assistant professor, HBS, Marketing Unit) work:
http://hbswk.hbs.edu/item/7267.html
http://hbswk.hbs.edu/item/7267.html
IE. WHEN A BRAND LOGO APPEARS
VIEWERS QUIT WATCHING A VIDEO WHEN THEY SENSE THEY'RE BEING INFLUENCED
Further reading on Thales S. Teixeira's (assistant professor, HBS, Marketing Unit) work:
http://hbswk.hbs.edu/item/7267.html
http://hbswk.hbs.edu/item/7267.html
Untitled Slide
Further reading on Thales S. Teixeira's (assistant professor, HBS, Marketing Unit) work:
http://hbswk.hbs.edu/item/7267.html
http://hbswk.hbs.edu/item/7267.html
Untitled Slide
Further reading on Thales S. Teixeira's (assistant professor, HBS, Marketing Unit) work:
http://hbswk.hbs.edu/item/7267.html
http://hbswk.hbs.edu/item/7267.html
Untitled Slide
Further reading on Thales S. Teixeira's (assistant professor, HBS, Marketing Unit) work:
http://hbswk.hbs.edu/item/7267.html
http://hbswk.hbs.edu/item/7267.html
Untitled Slide
Further reading on Thales S. Teixeira's (assistant professor, HBS, Marketing Unit) work:
http://hbswk.hbs.edu/item/7267.html
http://hbswk.hbs.edu/item/7267.html
