There is every chance of India putting up a good show at the Cannes Lions festival under the category of Film Craft. After sending a record 41 entries this year, two of them have found mention in the shortlisted entries so far. And both of them stand a great chance of emerging winners given the adulation it has managed to receive on its own national shores. Of the 33 entries sent last year, only Ogilvy’s entry – Train for Indian Railways received a metal in the form of a Gold.
Of the two shortlists India has received this year, the first is BBH India’s entry for its client Google Chrome under the category of Art Direction. The second entry to be nominated is Ramesh Deo Productions’s entry for its client The Times of India titled ‘I am Mumbai’. The entry has been nominated under the category of Direction and Taproot India is the agency.
Introduced in 2010, the Film Craft Lions honours the craft of the filmmaking process – the direction, copywriting or editing, or the skilful use of music or sound design. A total of 1721entries from 48countrieshave been submitted into the Film Craft category this year, an increase of 30 per cent compared to 2011. The countries that have sent maximum entries include USA at 640, United Kingdom at 315, France at 77, Brazil with 76 entries and Germany with 72.
Representing India at the Jury is Sneha Iype Varma, Executive Producer/Partner, Nirvana Films.
The trophies will be presented during the Film, Film Craft, Branded Content & Entertainment and Titanium and Integrated Lions Awards Ceremony, which will take place on Saturday evening 23Â June in the Grand Auditorium, Palais des Festivals.
Santosh Padhi and Agnello Dias with Arunabh Das Sharma and Sujay Ghosh receiving the Film Craft Gold bagged by Ramesh Deo Productions
By A Correspondent
The last day at Cannes Lions 2012 brought mixed cheer for the Indian contingent.
So while Indian entries won a Gold and a Bronze, more metals from the five shortlisted entries didn’t happen.
The Gold was won for Film Craft by Ramesh Deo Productions in the Direction sub-category. Abhinay Deo is the director of the film and the agency is Taproot India. The commercial titled ‘I Am Mumbai’ was made for Bennett, Coleman and Company Ltd for Mumbai Mirror (see entry details).
And the Bronze was bagged by Bacardi India in the Branded Content & Entertainment category for The Dewarists in the sub-category “Best non-fiction program, series or film where a client has successfully created a reality, documentary or light entertainment show around a product(s) or brand(s)” (see entry details).
With this, the number of metals bagged by Indian entries is 14 with the tally for Indian wins being as follows:
The final day at Cannes Lion 2012 turned out excellent for Taproot’s campaign for Mumbai Mirror – I am Mumbai. The advertisement was shortlisted in Film and Film Craft categories and went on to bag India ‘s first ever Gold in the Film Craft category.
The campaign was entered in the Film Craft category by Mumbai-based Ramesh Deo Productions. The film was directed by Abhinay Deo whose work has been shortlisted at Cannes Lion before too. MxMIndia spoke to the winning director to know what it takes to make an award-winning campaign.
It is India’s first ever win in the category, were you expecting a Gold?
Honestly speaking I wasn’t. It’s my job to make a good film and keep entering them at such prestigious award functions. The rest depends purely on the quality of the work!
What goes into directing an award-winning film?
There is no thumb rule for it. All I can say is that one has to be honest to the craft. Never make a film to win an award be it cannes or any other, because then you surely won’t. (Laughs)
The cast had never faced the camera before, so was it difficult to film it?
When you have a cast which has never faced the camera before, it can either be extremely difficult or easy. It all depends on how you break the ice with them because they are bound to have apprehensions and fears about the whole thing. Sometimes such a cast can do wonders and have a film which even a seasoned actor couldn’t have been able to do better. I was sure that I wasn’t going to film the campaign with trained actors or celebrities.
What was the thought process behind shooting the ad in black & white?
Over the years, the city has lost its character. Today, everything is muddled-up; so, to show consistency, we decided to shoot it in black & white. Also, it was a polarised concept and I believe colour would have softened it. It was meant to be a hard-hitting one and B&W helped us achieve that.
How important is an idea to direct for a concept like ‘I am Mumbai’?
Both are important for a concept to work. The idea won’t work without good direction and vice-versa. Without each other, it will just flop.
How involved was Taproot in the ad?
It was Aggi’s idea all along. Only after the idea was conceptualised, did I take over. And while shooting, it was my baby alone. It is great that Aggi and I know, and are able to understand, each other well, which helped both of us. We were able to execute each other’s ideas and thoughts well.
Some of the reports that are coming out on Cannes Lions attribute the agency for the award. Do you think in advertising, perception-wise, it’s the agency which gets all the credit and not the film company and director?
The campaign won the award for Film Craft category, so I think the award should be attributed to the craft.
As a director, do you have any preferred agencies you work with?
I have worked with most of them and have loved the experience. And I would continue to work with all of them. There are no preferences when it comes to work!
Meanwhile, how’s the work on ’24’ going? When do we see the first season? Since TV is said to take so much of one’s time, does it allow you time for ad films?
The series is in the scripting phase and, hopefully, will soon move to the execution stage. And when the shooting begins, I will give it all the time needed. In the past too, when I was making my two feature films, I didn’t make any advertisements. So, if needed I won’t be taking up advertisements till the series is over. Dedication and honesty towards work are important for me.
I have been to Cannes just once, and this was in the year 2000. To represent the ad mag I was editing at the time. I have many interesting memories of that trip, but the one that stands out is this: While I did run into quite a few eager desi ad men and women, India did not win a single award. In fact, the scenario was so bad, global ad gurus and the fest organizers would treat Indian journos with the same degree of respect as those from Eastern Europe. Okay, perhaps slightly better. And this made even a simple thing like obtaining interviews with the ad biggies a Herculean task.
I am happy to discover that in the interim period a lot has changed. While India may still not be setting Cannes on fire, our creative directors do return with a decent number of trophies. This was inconceivable in the year 2000. I am particularly pleased that the Mumbai Mirror TV commercial scored a Gold. Not only because I have worked for that newspaper in the past, but also because I recall giving the ad very high marks in the review I did for mxmindia. This is a clear indication that the ad frat must take my ad reviews very seriously… the Cannes jury gets influenced by them, hehe.
So then how did India turn the corner in the last decade? I would say there are three reasons: In the last few years, thanks to the economic boom and the efforts of some filmmakers (most specifically, Sir Danny Boyle), the India story has become interesting for the goras. They want to know more about us, we excite them now. This also means that the jury members now pay more attention to the Indian approach to advertising, they try hard to get our culture. Plus having more desi judges out there helps. All this then results in a better strike rate.
Second, the quality of our ‘creamy layer’ work has gone up in the last ten years. And I use the phrase creamy layer because 90 per cent of the mass advertising continues to be bollocks, and this is the case with the rest of the world too. But we have significantly improved on our good work. I also think some of our creative directors and ad filmmakers are paying a lot more attention to execution, a very important reason behind our increasing medals tally.
But most importantly, the clients have evolved in the last decade. Many of them want to push the envelope, they want to innovate; they don’t mind taking risks. This has naturally helped matters a lot. This was not the case in the past. Back in the bad old days, one was paid to do safe work, and risk takers used to be punished.
Maybe I will visit Cannes next year, it’s the right time. Think I will be given as much bhav as the American and the Brit journos. 🙂
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PS: Interesting blogpost on the biggest advertising lies. Lies that get bandied around so often, they become truths. Here’s exploding some popular myths.
A diverse set of Grand Prix Lion winners were announced at the 59th International Festival of Creativity, Cannes Lions 2012 over the last week. It was a hectic week for judges with an interesting array of campaigns and creative projects being thrown up to dig out the Grand Prix awards.
Four agencies won two Grand Prix each, Creative Artists Agency for Chipotle; R/GA for Nike; and Crispin Porter + Bogusky and Digitas, who teamed up on American Express.
Nick Worthington
The Outdoor category saw Jung von Matt’sInvisible Drive for Mercedes honoured along with Ogilvy Shanghai’s Cokehands posters. Coca-Cola was a double winner in Outdoor for a student-designed poster and in the inaugural Mobile Lions contest for its role in Google’s Project Rebrief. In the PR category JWT’s musical-based campaign for a Puerto Rican bank and BBH won Creative Effectiveness for its Even Angels Will Fall campaign for Lynx/Axe.
The Promo & Activation Grand Prix was won by Crispin Porter +Bogusky’s ‘Small Business Gets an Official Day’. Jury President Nick Worthington, speaking about the winning campaign, said: “It’s just an extraordinary piece of work. It’s so audacious, it kind of breaks the boundaries of what advertising is, what promo and activation is…It’s very easy to do the stuff that comes and goes but these guys have achieved a legacy.”
Bruce Duckworth
This year’s Design Lions Grand Prix was awarded to ‘The Solar Annual Report 2011’ by SERVICEPLAN. President of the Design Lions Jury, Bruce Duckworth said that one of ways you know a work is great enough is when you wish you would have done that work. Speaking about the winning entry, he said: “It’s got a great idea. It’s taken a client which is a solar powered company and it’s the annual book for that. You take it out in the sunshine and magically from a blank book, the information appears. It’s like magic, it made the hair on the back of my neck stand up and it wasn’t just me, it was the whole jury.”
David Jones, President of the Creative Effectiveness Lions Jury explained why the jury selected BBH London’s Axe Excite for American Express as the Grand Prix winner: “It won for a few reasons. First, they did a fantastic job of proving the contribution of advertising and the tangible business results associated with that. And they also did a great job of discounting the other facts, showing that it wasn’t a bad price or increased distribution or a massive increase in media spends.
David Jones
The case they made for RoI was very powerful, also we were impressed by the fact that it had some great consumer insights. And finally it was the best proof of what we all know, which is – in today’s world where you can’t buy attention anymore, you have to earn it – a brilliant creative idea that engages and cuts through is the best way of driving effectiveness, and we thought it was a fantastic idea that was bigger than the product…”
For more insights from the jury on what went into picking the best and how the selected winners stood out from a clutter of entries, MxMIndia put together a video playlist where Jury presidents and members discuss and explain the reason for choosing the Grand prix winners in the respective categories.
MxMIndia gets you an assortment of videos where Jury Presidents and members speak to Cannes Lions TV to explain why they chose the winning entry for the Grand Prix in different categories.
1. Nick Worthington on the Promo & Activation Lions Grand Prix 2012: Jury President Nick Worthington talks to Cannes Lions TV about the 2012 Promo & Activation Grand Prix, which was won by Crispin Porter + Bogusky’s ‘Small Business Gets An Official Day’ for American Express.
2. Gideon Amichay on the Direct Lions Grand Prix: Jury President Gideon Amichay explains why his jury selected Crispin Porter + Bogusky’s ‘Small Business Gets An Official Day’ for American Express as the 2012 Direct Lions Grand Prix winner.
3. Gail Heimann on the PR Lions Grand Prix: Jury President Gail Heimann explains why ‘The Most Popular Song’ by JWT San Juan,Puerto Ricowas awarded the PR Grand Prix – the first in the country’s history.
4. Lo Sheung Yan on the Outdoor Lions Grand Prix: Jury President Lo Sheung Yan explains why ‘#Cokehands’ and ‘The Invisible Drive’ were both awarded Grand Prix at Cannes Lions 2012.
5. David Jones on Creative Effectiveness Lions Grand Prix: Jury President David Jones explains why his jury selected BBH London’s Axe ‘Excite’ for American Express as the 2012 Creative Effectiveness Lions Grand Prix winner.
6. Mainardo de Nardis on the Media Lions Grand Prix: Jury president Mainardo de Nardis, OMD Worldwide’s CEO, explains why the ‘Google Voice Search’ campaign by Manning Gottlieb OMD London picked up the 2012 Media Lions Grand Prix.
7. Rob McLennan on the Radio Lions Grand Prix: Jury president Rob McLennan, the Executive Creative Director at Net#work BBDO, explains what set ‘Repellent Radio’ by Talent São Paulo apart from the other entries and earned it the 2012 Radio Lions Grand Prix.
8. Bruce Duckworth on the Design Lions Grand Prix: Jury president Bruce Duckworth explains why this year’s Design Lions Grand Prix was awarded to ‘The Solar Annual Report 2011’ by SERVICEPLAN Munich.
9. Tham Khai Meng on the Press Lions Grand Prix: Jury President Tham Khai Meng explains why his jury selected United Colors Of Benetton Apparel’s campaign for the 2012 Press Lions Grand Prix.
10. The Jury On The Cyber Lions Grand Prix: Three members of the Cyber Lions jury, including president Iain Tait, discuss the two winning Grand Prix pieces.
11. Tom Eslinger on the Mobile Lions Grand Prix: Jury president Tom Eslinger explains why Google’s ‘Hilltop Re-Imagined For Coca-Cola’ was awarded the first-ever Cannes Lions Mobile Lions Grand Prix.
12. Avi Savar on the Branded Content & Entertainment Lions Grand Prix: Jury president Avi Savar explains what set the first-ever Branded Content & Entertainment Lions Grand Prix apart from the rest of the entries.
13. Espen Horn on the Film Craft Grand Prix: Jury President Espen Horn explains more about the Film Craft Grand Prix, indicating why it stood out from the crowd.
14. Rob Riley on the Titanium & Integrated Lions Grand Prix: Jury President Rob Riley takes a moment to give us some more information about why made the Titanium Grand Prix so special and worthy of the prize.
15. Tham Khai Meng on the Film Lions Grand Prix: Jury President Tham Khai Meng takes a moment to reveal the 2012 Film Lions Grand Prix and explain why it picked up the prize.
What does a chief marketing officer of a very large global company do when he wants to be proficient in Twitter? He asks the CEO of Twitter, Dick Costolo to provide the best resource they possess for an intensive reverse mentoring session. According to Antonio Lucio, global chief marketing, strategy and development officer, Visa, it is critically important for him as the head of a global marketing organisation to be an expert on social media and be able to build the Visa brand on platforms like Twitter and Facebook.
Interestingly, he has been a marketer for over 30 years and it is his first time at Cannes Lions International Festival of Creativity and the first time Visa has attended the festival as a company. The question then is why now? For starters, digital media has changed the rules of engagement. However, the cases of truly successful integration and application of digital media are few and generally set on loop. “The fact is that when people talk about social they keep using the same concepts and best cases, for instance, the Old Spice campaign. This means that there really isn’t a clearly articulated model,†said Mr Lucio.
So clients like him attend festivals like the Cannes Lions to spot inspiring ideas, particularly in the digital, social and mobile and media worlds. Reasonable grounds for marketers to attend with teams of 5 to 15 senior management level employees.
But, it wasn’t too long ago when if you were a client and you said you want to go to Cannes for the ad festival you might not have got permission from management to do so. However, it is due to the efforts of a few that has led to the institutionalisation of the client’s side of Cannes. Marketers like Mr Lucio can come with midsize teams and it’s no longer considered an indulgence. P&G, Unilever, Coca-Cola, Pepsi, Heineken, Kraft, GM, McDonald’s and Mars, among others are just a few of the big global marketers who were present at the 2012 Cannes Lions.
Some have been attending longer than others. Like Joseph Tripodi, executive vice president and chief marketing and commercial officer, The Coca-Cola Company, who is particularly impressed with the attention the festival is receiving from media owners like Time Warner, in addition to growing participation numbers from clients as well as delegates from agencies. Keith Weed of Unilever, who has come to Cannes three years in a row and has been CMO for as many years said: “We have 15 people here this year and we do a combination of workshops, meeting our agency partners and recognising and acknowledging that creativity is great. In a cluttered media world, we need creativity to cut through.”
So apart from networking and opportunities to meet all their concerned parties, old and some new, in the same place, at the same time, these marketers are on the look out for inspiring work from across the world. And set creative benchmarks wherever possible. According to Cyril Charzat, senior global brand director, Heineken: “It’s very much about stimulating our marketing people to be stronger when they evaluate work from creative agencies; to define what is progressive and inventive. Our key message is to stimulate inventiveness and that’s what we try to do.” And Cannes is a part of that story.
On the Indian front, however, it is not yet a vital chapter. And Cannes remains the exclusive domain of adwallahs, with a light sprinkling of some regular clients like Mr Kakar of Aditya Birla Group, who has been attending the festival for over half a decade. Then there are first-timers like Mahindra & Mahindra. The company wanted to test French waters and therefore Vivek Nayer the company’s VP-marketing for the auto division attended the festival. But he left a tad disappointed and overwhelmed by the creative clutter. Other Indian marketers in attendance were Parle Agro (with Nadia Chauhan also a jury member), Dabur and Flipkart. Clearly, Indian marketers are grappling with the big question – to attend or not to attend? Meanwhile, clients from markets on our left and right, up and down, are strategising on ways to find the best creative result during the seven days spent in the Cote d’Azur.
However, the challenge for most is to put all that inspiring work to actual use. And here’s how some intend to do it. “We are not going to come in like the advertising people who get inspiration and go back home to figure it out. We will have a very structured approach with sessions of inspiration followed by sessions of perspiration, daily.
It’s my responsibility during the week to ensure that Cannes becomes a truly business building program for us,” said Mr Lucio of Visa. In other words, for marketers to take Cannes Lions International Festival of Creativity seriously there must be “enough perspiration to pay for the inspiration.”
1992 is not a year on which I shall look back with undiluted pleasure. In the words of one of my more sympathetic correspondents, it has turned out to be an Annus Horribilis. Thus spoke Queen Elizabeth II describing the year that was quite horrible for the British royal family. Now as the world celebrates 60 years of her Accession, the Latin phrase could be used for India’s performance at the Cannes Lions.
Now that the 7-day grand creative festival has come to a close in the south of France, agencies that have emerged tall and triumphant from across the globe will be heading back to their respective continents to kick off celebrations.
And that we guess India will miss out on, as the contingent make its way back home. Some have done so already as you read this. The boardrooms, bars and smokers’ areas will be busy as a new week commences with agencies trying to figure out what exactly went wrong. Or perhaps what didn’t go right. Some obvious questions that’ll come up for scrutiny are whether agencies have become too complacent and are taking their creative skills for granted or whether other countries have simply outsmarted India in the game of creative one upmanship.
Few doubt the creative aptitude India possesses, having given a tough time to most agencies in the past but 2012 could easily be billed as the worst year thus far – just 14 metals in kitty when the number of entries that were sent were the highest at 1,182.
Even in a dry year like 2008 where India had sent only 982 entries, the total metal count stood at 23. The only bad year was 2007 where India bagged just 12 metals but then one expects performances to see an upward spike year-on-year and not the other way round. It will be interesting to see the kind of reactions that emerge from the entrant companies in the ensuing days.
Though it was a forgettable year for India , there were some agencies that shone bright and whose entries managed to win a few metals. Those that were hopeful of a win did just that and came back lapping up either Gold, Silver or Bronze in the respective categories. Mentos Sour Marbles by Ogilvy & Mather continued its winning spree across festivals as it bagged a bronze in the Press Lions category.
Another sureshot that bagged India its metal was an entry by Leo Burnett for its client Bajaj Electricals for their exhaust fans. The team of KV Sridhar and Nitesh Tiwari carried on with their winning spree bagging Silver in the Press Lions category.
In fact, the team of Leo Burnett carried on with their rich display by picking up a Media Lion Silver for its Doorstep School campaign in the Best Localised Campaign category. Another entry from India that was sure of a win was Cheil Worldwide’s campaign for Samsung Printers. The work bagged a Media Lion Silver in Best Use of Integrated Media in Media Lions. BBDO India’s You Shave, I shave campaign for Gillette continued with its winning streak as it bagged a Bronze in the Media Lions category.
While those that were touted to win did just that, it was the Gold winners that were the talk among the delegates at the Cannes Lions festival. The tally was opened by McCann Worldgroup which won an Outdoor Lions Gold for its client Western Union.
An elated Prasoon collected the coveted prize on the dais. DDB Mudra’s ‘The Hinglish Project’ for Ministry of Tourism, Government of India was another Gold winner as it bagged the metal in the Design Lions category. The same project also won a bronze in the same category.
Abhinay Deo
The third Gold winner was the entry ‘I am Mumbai’ that was entered by Ramesh Deo Productions and the advertising agency for which was Taproot India . Abhinay Deo, on bagging the award, said: “There is no thumb rule for success. All I can say is that one has to be honest to his craft. Never make a film to win an award be it Cannes or any other, because then you surely won’t.”
Failures Unlimited
While that was about the winners, the conversation that dominated the festival during the latter half was the lack of wins by India across categories. The discussion was compounded by India failing to make the shortlist across categories too. India would definitely want to forget its showing in the Mobile Lions & Cyber Lions category where it didn’t manage a single shortlist.
Even categories like Film Craft, Creative Effectiveness, Branded Content & Entertainment put up a poor show by bagging just a handful of nominations. In comparison, categories like Radio and PR performed better with the shortlisted entries in either of them going on to win metals.
In fact, the categories where India had the maximum number of shortlisted entries like Press and Outdoor too were failures as the conversion rate averaged about 10 per cent or so for each of them. Titanium & Integrated continued to elude the Indian contingent of bagging any metal.
KV Sridhar
The overall grim mood at the festival was highlighted by KV Sridhar, NCD, Leo Burnett India : “We are extremely satisfied with Leo Burnett’s performance at Cannes this year; getting three Lions is not an everyday event. The only disheartening thing being that India’s overall performance this year wasn’t gratifying. I think we need to push ourselves a little more to do well in such awards, because at the end of the day it’s not about how good your work is, but about how much better the world is performing than you.”
Said Pratap Bose, COO, DDB Mudra Group, whose agency did win some big awards but not as many as they had hoped: “At the end of the day, as DDB Mudra, we were more hopeful as we did get 21 shortlists. Though this is an extended India problem as well. We did bag a Gold and that compensated a little. The standard to which the world has risen surpasses India to a very great extent hence India has got a lot of catching up to do. To sum it all, we are quite disheartened with the overall performance.”
Pratap Bose
Mr Bose’s comments on the creative standard of other agencies around the world rising to surpass India may all but be true. Why else would entries that stood a high chance of bagging a metal miss out on winning one? DDB Mudra’s work for Stedfast, Volkswagen and GeeBees Beverages were all assured of a win but sadly missed up winning any.
Chaplin Chapters & Google Chrome by BBH India , Keeping the Legend Alive by McCann Worldgroup, Parle Agro by Creativeland Asia and A Day in the Life of India by Taproot were other worthy entrants too but were skipped for the sake of others that were found to be more deserving.
Manish Bhatt
Manish Bhatt, Founder-Director, Scarecrow and a jury member for Cannes, 2012, said, “I would say that winning at Cannes has a lot to do with probability, so many factors can work for or against a piece of work during the judging process. Also with my interactions with other jury members, I got a feel that many felt that while there is no disputing Indian creativity but the viability of that idea on various medium is restricted. As creativity is being redefined, there is a need to bring on an idea that can work on multiple platform. There is also a need to bring in more interactivity in our entries as thats what the judges are looking for.”
Perhaps, it’s time for India to stop being looked upon as the ‘favourite’ one and for more creative ideas to spawn if we have to make a rousing comeback in 2013.
We could then look forward to a wonderful year… Annus Mirabilis may be
With inputs from Shubhangi Mehta, Tuhina Anand and Meghna Sharma
Day 4 at the Grand Auditorium, Palais des Festivals was not as eventful for the Indian contingent as the metals failed to come in big numbers as envisaged. India managed to clinch only 7 metals, including 1 Gold, 1 Silver and 5 Bronzes in the four categories for which the winners were declared – Design, Press, Radio & Cyber. In Cyber there were no shortlists from India.
The Gold was bagged in the Design Lions category which had a total of eight shortlists from India. DDB Mudra Group was the winner of the lone Gold for their work ‘The Hinglish Project’, bagged under the Consumer Services category, the work was for Ministry of Tourism under the Incredible India initiative.
Ogilvy & Mather’s work for Mentos Sour Marbles saw it bag a Bronze
The creative credits for the entry include Sonal Dabral, Chairman & Chief Creative Officer, Pratap Bose, Chief Operations Officer, Louella Rebello, ECD, Shirin Johari, Associate Creative Director – Copy & Art, Michael Remedios, Agency Producer & Warren Pereira of W Films.
Incidentally, The Hinglish Project also bagged a Bronze in the Design Typography category. Reacting to the win, Louella Rebello, ECD, DDB Mudra Mumbai said: “The Hinglish Project has been a labour of love. We named it ‘The Hinglish Project’ because it is exactly that. A project that aims to demystify Hindi and make it familiar and more approachable by using a wonderful blend of the two languages. It was very well received and appreciated even before it was entered and the Cannes Lions are testimony to this. Kudos to Shirin Johari. At DDB Mudra, it’s champagne time as we bring home our Lions.”
Perhaps the biggest disappointment for the Indian contingent was in the Press Lions category where it managed only four metals out of a total of 30 shortlists. The big winner was Leo Burnett as it bagged Silver for its client Bajaj Electricals. Leo Burnett bagged the award in the Home Appliances & Furnishings category; the creative team for which included KV Sridhar – CCO, Nitesh Tiwari – ECD, Vikram Pandey – CD, Vikram Pandey – Copywriter, Brijesh Parmar – Art Director, Amol Jadhav – Photographer, Sushma Singh/Adya Thakur – Account Supervisor and Beena Koshy – Advertiser’s Supervisor.
The Print category also brought in three Bronzes forIndiawhich included one by Ogilvy & Mather for Mentos Sour Marbles – the team for which included Abhijit Avasthi/Rajiv Rao, CCO, Priti Arora, CD, Tushar Pal, Copywriter, Deelip Khomane, Illustrator and Typographer.
O&M bagged another Bronze in Press Lions for its work around Hot Wheels
The other bronze went to BBDO India for its ‘White Collar Hippies’ campaign – the team for which comprised Josy Paul, CCO, Rajdeepak Das, ECD, Sandeep Sawant, CD, Yohan Daver, copywriter; while the third Bronze went to Ogilvy & Mather for ‘Hotwheels’ for its client Mattel Toys – the team for which included Abhijit Avasthi/Rajiv Rao, CCO and Sukesh Kumar Nayak, ECD & Copywriter.
The other Bronze was bagged in the Radio Lions category by Leo BurnettIndiafor Strand Bookstall. The team for the campaign was led by K V Sridhar, CCO, Nitesh Tiwari, ECD and Ashwiny Iyer Tiwari, CD of Leo Burnett.
By Meghna Sharma
By Anil Thakraney
Day 4 at the Grand Auditorium, Palais des Festivals was not as eventful for the Indian contingent as the metals failed to come in big numbers as envisaged. India managed to clinch only 7 metals, including 1 Gold, 1 Silver and 5 Bronzes in the four categories for which the winners were declared – Design, Press, Radio & Cyber. In Cyber there were no shortlists from India.
