Adweek published a story asking the big winners at Cannes 2016 what their “secrets to success” were. You could read the article here or just stay with me and I’ll tell you how to win at Cannes. Forget analysis and trendspotting. Don’t be mystified by all the never-ending categories either. Winning at Cannes has more or less relied on the same formula for years.
First and foremost, do great work. Then get it seen and talked about. This one-two punch, by the way, is the same formula for ANY awards show.
Ideally, at least some of your great work should be real. Real means it went through the gauntlet known as your client (not to mention your agency’s often debilitating process) was brilliantly produced, ran in genuine media, and received boffo results.
Enter the shit out of it.
But, dear friends, you know as well as I do, that it doesn’t end there.
Long ago intrepid creatives learned how to game the system. At first simple cheating, what this looks like now is far more, shall we say, ornate. Boiled down it means mimicking the legitimate. Something like this: Create gorgeous work, share it with select others internally, maybe have a friendly client smile at it wistfully, then run it on your own dime somewhere cost efficient or, even free, like posters at the local coffee shop or via some innocuous website. Take a bunch of pictures of it “in situation,” make a case study video and voila: you have award show bait!
Enter the shit out of it.
Professional winners have huge budgets for entering shows and a complicit team doing it. Mixing in fake campaigns with real creates a juggernaut that is hard to untangle. A few real pieces win; a few scams. Who knows which is which? Who cares – the agency clearly does good work.
Be part of a network that knows all the ins and outs. Networks have a regular, sustained presence and they will massage the process to help you win. Networks know people in high places. Networks get judges into shows. Networks have wags who do interviews, predictions and the like i.e. Global Creative Directors. Networks do PR. Networks spend money.
Gaming the system has become the system. Varying degrees of corruption are tolerated for the greater good. A few unfortunates get caught and thrown to the –ahem- lions. The rest is the rest. If it looks like a winner and comes from a winner then, by golly, it is a winner!
The agencies that won the most at Cannes do all of the above, legitimately and otherwise. Been this way for years.
A few 24 hours ago, I had the pleasure of conversing with Alex Bogusky before he became a demi-God of Advertising. We were at a vendor-sponsored pool party in Cannes. However unlikely as it seems, both of us were not really digging the scene. He seemed to prefer a quiet discussion versus living it up in the shallow end. I was perhaps more torn on the issue but also more than happy to oblige him.
For the record, later that week, Alex and his namesake agency would win handfuls of Lions, including the Grand Prix for a charming spot from Ikea called “Lamp.” Crispin Porter & Bogusky were in the middle of an epic run making them perhaps the most famous ad agency on earth.
But Alex wasn’t interested in talking about prizes.
Alex Bogusky, from that period…
Like a lot of executive creative directors (myself included), he’d come to Cannes simply because he could. However, he now admitted to being unsettled by the attention he and his agency were getting. He confessed that this would likely being his last time at Cannes. “Steff,” he said, “we’ve got plenty of swimming pools in Miami.” (This was before CP&B moved its home office to Boulder, CO.) Then he added, “I find that I like doing work more than celebrating it.”
I’m paraphrasing from memory but this was my favorite bit. Ironic commentary coming from the man who would later write “Hoopla” (a book about fame in marketing), not to mention win more Lions than probably any other person or agency in the United States.
Yet, to me, Bogusky’s ambivalence about all of it seemed indicative of a higher power beginning to work in his life: that making work, really good work, was more important than drinking champagne and toasting about it. Bigger picture Alex was also discovering the persistent headache and clash of conscience that hedonism invoked.Lessons I would learn the hard way.
Later that year, Alex resigned from his agency to pursue other interests.
April 1, 2016
Time for a new campaign…
The headline in AdAge: “Miller Coors Distributors nix planned Leinenkugel’s campaign.”
It’s a story as old as the advertising business, though less common now than it was in the 80’s, when distributors, wholesalers and franchisees held significant power over even CMO’s. And no categories felt it more than QSR (fast food) and spirits, especially beer. (Car dealers had their own version but that’s another story.)
Silverbacks and students of Adland might remember the burger and beer wars. Rivals like Burger King and McDonald’s duked it out for market share, often quite publicly. Ad Agencies battled for their client’s supremacy like the loyal henchmen they were. And with Mafioso bravado, if a brand teetered from it’s position, the agency’s campaign and its creators were the first to get whacked. In this way, agencies became heated rivals as much as the companies they represented.
Fighting over AOR status for one of these clients was equally vitriolic. Back in the day, DDB and Leo Burnett fought ceaselessly over the McDonald’s account. Anheuser Busch pitted its agencies against one another for sport. In both cases, ketchup and beer spilled like blood.
Here we have a remnant of that skullduggery. My guess is the distributors wanted a more predictable, macho approach to “their commercials” than what San Francisco shop, Venables & Partners came up with, which features a quirky group of Wisconsinites playing an impromptu version of Boston’s “More than a Feeling” on a lakeshore up north in the Dairy State. The tag: “Welcome to the Leinie Side.” (You can watch the commercial in the AdAge Article here. )
Is it the best commercial ever? No. But it has an understated, shaggy charm that I think fits the brand to a “T.” I like the spot. Moreover, I think young adults would have to. If Leinie’s mission, under the glaring watch of Miller Coors, was and is to expand the brand’s popularity nationwide this funky take on Wisconsin hipsters (such as they are) probably makes a lot of sense. The spot has a light touch. And, who, if only secretly, doesn’t love Boston?
I’m guessing the Goombah wholesalers demanded hotter chicks, more jocks, and club music. That or a blue collar Wisconsin, more about hunting, fishing and campfires – a linear evolution of the family heritage campaigns Leinenkugal’s did for years before selling (out) to Miller Coors.
Rightly or wrongly, the dealers won. We can only morbidly wait to see their “fix.” It’ll probably look a lot like this:
An older spot, ripe with obvious…